The iconographic language of Early Modern triumphal entries in Scotland portrayed two sets of expectations, those of the visiting monarch and those of the organizing burgh. During these events, potentially conflicting visions of personal, local, and national identity found spatial representation through spectacles staged in the urban environment. Through an analysis of chronicles, records of expenses, and private accounts, this paper argues that these public ceremonies staged on the contrary the peaceful renegotiation of the monarch-burgh relationship, even in the context of minorities, female rule, and religious controversies. Their shared iconography demonstrates overlapping and complementary - rather than conflicting - agendas.