Throughout this tomb, each female figure representing the scholarly disciplines carries different objects and evokes the writing of various scholars, further embellishing their disciplinary identities. However, certain disciplines are presented with greater importance when compared to others. Through the heraldic oak branch indicating association with the pope’s family, and the division between semi-nude, bare-breasted figures compared to fully clothed figures, Pollaiuolo established a hierarchical division between each discipline represented on the Tomb of Pope Sixtus IV. Moreover, by utilizing the earlier depictions of the Liberal Arts in the Mantegna Tarocchi series, fifty didactic cards depicting the liberal arts and states of man, Pollaiuolo adapted the hierarchy established through these prints to the sculptural reliefs on the tomb. This hierarchy is further reflected in the platonic divisions of the overall tomb, seen in the vertical top-down hierarchy where the pope is shown at the physical apex, with the most importance, followed by the Virtues, and at the lowest level the ten allegorical figures of the Liberal Arts. Further distinctions can be identified in the divisions of disciplines between Platonic versus Aristotelian thought and the authors that were identified via inscriptions. The interplay between the materiality of each figure and the nude female body through the reflection and bronze of the tomb can be understood to reflect distinctions among the liberal arts and establish a hierarchy among each discipline as conveyed through the figure’s nudity. As there was a hierarchy created among the Virtues, one can infer that this hierarchy can be established among the Liberal Arts as well.[130] Wright argued that the Theological virtues on the middle level of the tomb were concentrated around the pope’s head, reflecting their rank among the overall virtues, aligning with Theologia at the head of the tomb. As such, the significance of the Virtues around Sixtus’s head can be transferred down to the lower level of the Liberal Arts thereby suggesting the distinction among disciplines that were placed closer to his head and therefore the altar wall.