Ещё примеры, где поздние папы позировали образцами для ранних пап. (Инфа с http://www.wga.hu/)
Привёл даты правлений пап, взял отсюда
http://www.ourladyswarriors.org/articles/popelist.htm The Complete List of Popes (No. ; Name ; Reigned From ; Reigned To)

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ANGELICO, Fra -Scenes on the north wall 1447-49 Fresco, 271 x 473 cm Cappella Niccolina, Palazzi Pontifici, Vatican
Below the lunette two scenes are represented: St Sixtus Entrusts the Church Treasures to Lawrence; St Lawrence Distributing Alms.
St Lawrence, a third-century Roman who, like St Stephen, suffered a violent death for his faith, was venerated as one of the most famous martyrs of the city of Rome. This fresco panel is divided in two, without any attempt to give the neighbouring scenes any architectural or spatial cohesion. The architecture employed by Angelico in both scenes is of a distinctly Roman splendour and dignity. The two events from the life of the saint are simply told. They are rich in detail but none is superfluous to the narrative.
On the left he kneels to receive the treasures of the Church from Pope St Sixtus II, who is given the features of Angelico's patron, Nicholas V. It has been suggested that the depiction of the two soldiers preparing to break open a bricked-up door, is a reference to Pope Nicholas's decision to declare 1450 a Jubilee Year.
On the right, St Lawrence is shown framed in the entrance to a colonnaded basilica of great monumentality. The distant apse further frames and gives emphasis to the saint. He is attended by the poor, blind and lame, and hands money to a legless man in the immediate foreground. His scarlet vestment is scattered with golden flames and hints at his future death by burning.
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24. St. Sixtus II 257-258
208. Nicholas V 1447-1455
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RAFFAELLO Sanzio -The Fire in the Borgo 1514 Fresco, width at base: 670 cm Stanza dell'Incendio di Borgo, Palazzi Pontifici, Vatican
The Fire in the Borgo is the most complex of the four episodes in the Stanza dell'Incendio di Borgo. It is full of references to classical antiquity, to medieval architecture at the time of the affirmation of the Church, and to themes used by contemporary artists. It celebrates the intercession of Leo IV, by whose grace a fire which spread through the Borgo, a popular section of Rome near the Basilica of St Peter, was extinguished. The event depicted happened in AD 847 and is documented in the "Liber Pontificalis" (a collection of early papal biographies). Pope Leo IV managed miraculously to halt the raging fire, which was threatening an area of the city, by his benediction from the loggia of Old St Peter's.
The structure of the composition is complex: two colonnades of clear classical derivation define a square. The Pope, who again bears the features of Leo X, blesses the frightened crowd from a gallery located beyond the colonnades. The façade of old St Peter's appears behind him, in the background. While those in the foreground are desperately trying to put out the fire, the female figure in yellow with her back to us is begging them to look at the only effective source of help, the pope.
The term `scenographic' can appropriately be applied to this painting. Clearly, Raphael was concentrating on richer, more varied, but less harmonious compositional solutions than those of his previous paintings. The figure groups express great formal beauty, but they lack harmonious relationships and remain pure examples of episodical representation. The group in the left foreground, for example (made up of an old man on the shoulders of a young man, and a child), may be drawn from the episode of the Aeneid in which Aeneas escapes with his father, Anchises and his son, Ascanius. The woman with children in the centre of the fresco and the water carrier at right, whose clothes blow in the wind, represent similar stereotypes. The nude descending from the wall at left recalls the heroic figures of Michelangelo. Notwithstanding these limitations, the scene is highly effective and demonstrates Raphael's skill as an illustrator, although, as the critics maintain, it was executed largely by his pupils.
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103. St. Leo IV 847-855
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RAFFAELLO Sanzio -The Justice Wall 1511 Fresco Stanza della Segnatura, Palazzi Pontifici, Vatican
The Justice wall in the Stanza della Segnatura includes a lunette containing three of the four Cardinal Virtues of Christianity (Fortitude, Prudence and Temperance). The fourth virtue, Justice, rules over earthly law from the roundel above (on the ceiling). Fortitude can be recognized by her attribute, the lion; Wisdom, who has two faces, by her mirror; and Temperance by the reins. Fortitude is holding an oak branch, a reference to the pope's family name, Rovere, meaning "oak."
The great systems for civic and canon law are extolled, exemplified by the two scenes at the sides, Justinian Receiving the Pandects, and Gregory IX Approving the Decretals. The figure of Gregory bears the features of Julius II looking imposingly august, but also worn and aged. The pontiff is enthroned in great splendour, with his triple tiara and heavily brocaded cape. As a potentate, he is buttressed by the members of his court, based on the likenesses of courtier-clerics.
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178. Gregory IX 1227-1241
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RAFFAELLO Sanzio -The Oath of Leo III 1516-17 Fresco Stanza dell'Incendio di Borgo, Palazzi Pontifici, Vatican
Between 1514 and 1517 Raphael and his workshop frescoed the walls of the Stanza dell'Incendio di Borgo at Leo X's behest. The scenes depicted clearly relate to the new pope. They consist of four episodes from the history of the church during the Carolingian age, each of which has a pope named Leo. Leo X had found the theme of Leo I and Attila already present in the program of the Stanza d'Eliodoro, but he related it to himself by introducing his portrait features. This painted identification with predecessors sharing his name is one he continued in the Stanza dell'Incendio with stories of the popes Leo III and Leo IV: in each case the papal protagonist named Leo has Leo X's facial features.
In the first fresco Pope Leo III is taking the oath of purification at the altar of St Peter's in 800; he did so to clear himself of false charges in front of Charlemagne and a Roman ecclesiastical assembly.
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96. St. Leo III 795-816
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RAFFAELLO Sanzio -Vision of the Cross 1520-24 Fresco Sala di Constantino, Palazzi Pontifici, Vatican
Здесь ещё раз картинка, где Лев Х в роли Климента I.