[{"id":381,"date":"2022-04-21T00:05:47","date_gmt":"2022-04-21T00:05:47","guid":{"rendered":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/?page_id=381"},"modified":"2022-04-25T23:54:55","modified_gmt":"2022-04-25T23:54:55","slug":"list-of-figures","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/list-of-figures\/","title":{"rendered":"List of Figures"},"content":{"rendered":"

List of Figures<\/h3>
<\/div><\/div><\/div>
\n

Figure 1.<\/strong>\u00a0Martianus Capella,\u00a0Marriage of Philology and Mercury<\/em>\u00a0or\u00a0De nuptiis Philolgiae et Mercurii,\u00a0<\/em>5th c., Printed 1539, Lugduni, Whipple Library, University of Cambridge<\/p>\n

Figure 2.<\/strong>\u00a0Attributed to the Ma\u00eetre de Co\u00ebtivy,\u00a0Frontispiece of Book III Boethius\u2019 \u2018De Consolatione Philosophiae\u2019,\u00a0<\/em>c. 1460-70, France, 241 x 165 mm, Wallace Collection<\/p>\n

Figure 3.<\/strong>\u00a0Alain de Lille (Alanus de Insulis),\u00a0Anticlaudian,\u00a0<\/em>c.1400, fol. 006r, Manuscript, 210 x 141 mm, Oxford Libraries, Bodleian Library MS. Canon. Misc. 110<\/p>\n

Figure 4<\/strong>. Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>c. 1484-1493<\/p>\n

Figure 5<\/strong>. Diagram of the sculptural panels on Antonio Pollaiuolo\u2019s\u00a0Tomb of Sixtus IV<\/em><\/p>\n

Figure 6.<\/strong>\u00a0Tiberio Alfarano, Plan of Old St Peter\u2019s with its relationship to the new Basilica, 1590. Etching on Paper, 56.7 cm x 43.9 cm, Archivio of the Basilica of St Peter\u2019s, (Bianchi, 1982, p.197, n.22)<\/p>\n

Figure 7.<\/strong>\u00a0Martin van Heemskirk, Grabmal Sixtus von Antonio Pollaiuolo (Drawing of Sixtus\u2019s Tomb by Antonio Pollaiuolo),\u00a0 c.1532-1536. Red Chalk on Paper, 13.6 x 21.4 cm<\/p>\n

Figure 8.<\/strong>\u00a0Engraving of a medal of Pope Sixtus IV (1471-1484). The original medal, by an unknown artist, was made in 1481<\/p>\n

Figure 9.<\/strong>\u00a0Melozzo da Forl\u00ec, Pope\u00a0Sixtus IV Appoints Bartolomeo Platina Prefect of the Vatican Library,\u00a0<\/em>1477, fresco removed and transferred to canvas, 370 x 315 cm<\/p>\n

Figure 10.\u00a0<\/strong>Michelozzo di Bartolomeo,\u00a0Tomb of Martin V<\/em>, c.1430s, San Giovanni in Laterano, Rome<\/p>\n

Figures 11-16.\u00a0<\/strong>Agostino di Duccio, Details of Philosophy, Dialectic, Rhetoric, Music, Poetry, Mathematics, Tempio Malatestiano, Rimini, c.1449-56<\/p>\n

Figure 17.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Rhetorica, c.1484-1493<\/p>\n

Figure 18.\u00a0<\/strong>Hadrianic and Antonine coin, Reverse with\u00a0Tellus\u00a0<\/em>figure, c.170-190<\/p>\n

Figure 19.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,<\/em>\u00a0Detail of Rhetoric Inscription, c.1484-1493<\/p>\n

Figure 20.<\/strong>\u00a0Agostino di Duccio, Detail of Rhetoric, Tempio Malatestiano, Rimini, c.1449-56<\/p>\n

Figure 21.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Grammar, c.1484-1493<\/p>\n

Figure 22.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,<\/em>\u00a0Detail of Grammar Inscription, c.1484-1493<\/p>\n

Figure 23.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Dialectic, c.1484-1493<\/p>\n

Figure 24.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Dialectic Inscription, c.1484-1493<\/p>\n

Figure 25.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Dialectic Scorpion, c.1484-1493<\/p>\n

Figure 26.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Geometria, c.1484-1493<\/p>\n

Figure 27.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Geometria Inscription, c.1484-1493<\/p>\n

Figure 28.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Geometria Inscription, c.1484-1493<\/p>\n

Figure 29.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Geometria Satyr Figure, c.1484-1493<\/p>\n

Figure 30.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,<\/em>\u00a0Detail of Musica, c.1484-1493<\/p>\n

Figure 31.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Musica Papal Keys, c.1484-1493<\/p>\n

Figure 32.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Musica della Rovere Oak Branch, c.1484-1493<\/p>\n

Figure 33.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Arithmetic, c.1484-1493<\/p>\n

Figure 34.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Arithmetic Inscription, c.1484-1493<\/p>\n

Figure 35.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Pope Sixtus IV<\/em>, Detail of Astrology, c. 1484-1493<\/p>\n

Figures 36.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Details of Astrology Inscription, c.1484-1493<\/p>\n

Figure 37.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Details of Astrology Inscription, c.1484-1493<\/p>\n

Figure 38.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Philosophia, c.1484-1493<\/p>\n

Figures 39.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Philosophia Inscription, c.1484-1493<\/p>\n

Figure 40.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Philosophia Books, c.1484-1493<\/p>\n

Figure 41<\/strong>. Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Theologia, c.1484-1493<\/p>\n

Figure 42.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Angel with Inscription, c.1484-1493<\/p>\n

Figure 43<\/strong>. Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of the Trinity Head in Theology, c.1484-1493<\/p>\n

Figure 44.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Charity, c.1484-1493<\/p>\n

Figure 45.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV<\/em>, Detail of Prospectiva, c.1484-1493<\/p>\n

Figures 46.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Details of Prospectiva Inscription, c.1484-1493<\/p>\n

Figure 47<\/strong>. Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Details of Prospectiva Candelabrum, c.1484-1493<\/p>\n

Figures 48-57.<\/strong>\u00a0Master of the E Series,\u00a0Mantegna Tarocchi<\/em>, Series C: 21-30, c. 15th<\/sup>\u00a0century, Engraving, Images of Grammar, Logic, Rhetoric, Geometry, Arithmetic, Music, Poetry, Philosophy, Astrology, Theology.<\/p>\n

Figure 58.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Grammatica Figure, c. 1484-1493<\/p>\n

Figure 59.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Rhetorica Figure, c. 1484-1493<\/p>\n

Figure 60.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Theologia Figure, c. 1484-1493<\/p>\n

Figure 61.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Prospectiva Figure, c. 1484-1493<\/p>\n

Figure 62.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Dialectica, c.1484-1493<\/p>\n

Figure 63.\u00a0<\/strong>Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Astrologia, c.1484-1493<\/p>\n

Figure 64.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Musica, c.1484-1493<\/p>\n

Figure 65.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Rhetorica Oak Branch, c.1484-1493<\/p>\n

Figure 66.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Dialectica Oak Branch, c.1484-1493<\/p>\n

Figure 67.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Prospectiva Oak Branch, c.1484-1493<\/p>\n

Figure 68.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>Detail of Musica Oak Branch, c.1484-1493<\/p>\n

Figure 69.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,<\/em>\u00a0c.1484-1493<\/p>\n

Figure 70.<\/strong>\u00a0Antonio Pollaiuolo,\u00a0Tomb of Pope Innocent VIII<\/em>, 1492-98<\/p>\n

Figure 71.\u00a0<\/strong>Michelangelo Buonarroti,\u00a0Design for Tomb of Julius II,<\/em>\u00a01505<\/p>\n

Figure 72.<\/strong>\u00a0Attributed to Giacomo Rocchetti, after Michelangelo Buonarroti,\u00a0Design for the Tomb of Julius II, 1513, by Michelangelo, ca. 1530-50. Pen and brown ink, color wash, lead stylus on Paper, 57.3 x 38.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin<\/p>\n

Figure 73.\u00a0<\/strong>Drawing after Michelangelo Buonarroti\u2019s project of 1513 for the tomb of Julius II, 1513<\/p>\n<\/div><\/section><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Figure 1. Martianus Capella, Marriage of Philology and Mercury or De nuptiis Philolgiae et Mercurii, 5th c., Printed 1539, Lugduni, Whipple Library, University of Cambridge<\/p>\n

Figure 2. Attributed to the Ma\u00eetre de Co\u00ebtivy, Frontispiece of Book III Boethius\u2019 \u2018De Consolatione Philosophiae\u2019, c. 1460-70, France, 241 x 165 mm, Wallace Collection<\/p>\n

Figure 3. Alain de Lille (Alanus de Insulis), Anticlaudian, c.1400, fol. 006r, Manuscript, 210 x 141 mm, Oxford Libraries, Bodleian Library MS. Canon. Misc. 110<\/p>\n

Figure 4. Antonio Pollaiuolo, Tomb of Sixtus IV, c. 1484-1493<\/p>\n

Figure 5. Diagram of the sculptural panels on Antonio Pollaiuolo\u2019s Tomb of Sixtus IV<\/p>\n","protected":false},"author":3810,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-381","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/381","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/users\/3810"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/comments?post=381"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/381\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/media?parent=381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":343,"date":"2022-04-02T06:16:28","date_gmt":"2022-04-02T06:16:28","guid":{"rendered":"https:\/\/edspace.american.edu\/zh7458a\/?page_id=343"},"modified":"2022-04-26T00:03:38","modified_gmt":"2022-04-26T00:03:38","slug":"trivium-conclusion","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/trivium-conclusion\/","title":{"rendered":"Trivium Conclusion"},"content":{"rendered":"

Trivium Conclusion<\/h3>
<\/div><\/div><\/div><\/div>\n

These three figures of Rhetoric, Grammar, and Dialectic include themselves in each inscription, utilizing the first person singular \u2018I\u2019 to directly address the viewer. Instead of directly quoting other scholars within their discipline as is found in the arts of the Quadrivium, the three of the Trivium state their own directive and create a distinction between their invention and the work of other scholars and philosophers. In lieu of traditional texts and philosophers that were conventionally included in such representations, Pollaiuolo\u2019s design compels reflection on the ways in which the arts of the Trivium have their own agency. Thus, these inscriptions demonstrated how the arts of the Trivium were more adaptable to various scholarly pursuits and therefore served as the basis for further scholarship.<\/p>\n<\/div><\/section><\/div>\n

<\/a><\/div><\/div>
\n

Antonio Pollaiuolo, Tomb of Pope Sixtus IV<\/em>, Detail of Rhetorica, c. 1484-1493<\/p>\n<\/div><\/section><\/p><\/div>

<\/a><\/div><\/div>
\n

Antonio Pollaiuolo, Tomb of Pope Sixtus IV<\/em>, Detail of Grammatica, c. 1484-1493<\/p>\n<\/div><\/section><\/p><\/div>

<\/a><\/div><\/div>
\n

Antonio Pollaiuolo, Tomb of Pope Sixtus IV<\/em>, Detail of Dialectica, c. 1484-1493<\/p>\n<\/div><\/section><\/p><\/div>

Next: Arts of the Quadrivium<\/span>

Bibliography<\/h3>
<\/div><\/div><\/div><\/div>\n

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Lumley, William. \u201cThe Logos in Early Christianity.\u201d Theology <\/em>102, no. 810 (1999): 424-430.<\/p>\n

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______. Iconographie de l\u2019art profane au Moyen-Age et \u00e0 la Renaissance, et la d\u00e9coration des demeures. <\/em>New York: Hacker Art Books, 1971.<\/p>\n

Masi, Michael. \u201c<\/em>Introduction\u201d in Boethius and the Liberal Arts: A Collection of Essays <\/em>edited by Michael Masi, 9-16. Berne: Lang Publishers, 1981.<\/p>\n

O\u2019Malley, John W. Giles of Viterbo on Church and Reform: A Study in Renaissance Thought. <\/em>Leiden: Brill, 1968.<\/p>\n

______. Praise and Blame in Renaissance Rome: Rhetoric, Doctrine, and Reform in the Sacred Orators of the Papal Court, c.1450-1521.<\/em> Durham: Duke University Press, 1979.<\/p>\n

Oser, Martha C. \u201cThe Seven Liberal Arts in the Middle Ages \u2013 The Development of the Liberal Arts Curriculum and the Theme of the Arts in Medieval Religious Arts Sculpture.\u201d M.A. Thesis, Michigan State University, 1995.<\/p>\n

Orsini, Luigi. The Malatesta temple; sixtyfour illustrations, and text<\/em>. Italy: E. Bonomi, 1915.<\/p>\n

Paetow, Louis John. The Battle of the Seven Arts. <\/em>Berkeley: University of California Press, 1914.<\/p>\n

Panofsky, Erwin. Gothic Architecture and Scholasticism.<\/em> New York: Meridian Books, 1957.<\/p>\n

_______. \u201cThe Renaissance, Its Antecedents and Its Sequel\u201d in Tomb Sculpture, <\/em>67-96. <\/em>New York: H.N. Abrams, 1984.<\/p>\n

_______. \u201cThe First Two Projects of Michelangelo\u2019s Tomb of Julius II.\u201d The Art Bulletin<\/em> 19, no. 4 (1937): 561\u201379.<\/p>\n

Paxson, James J. \u201cPersonification\u2019s Gender.\u201d Rhetorical: A Journal of the History of Rhetoric<\/em> 16, no. 2 (Spring 1998) 149-179.<\/p>\n

_______. \u201c(Re)facing Prosopopeia and Allegory in Contemporary Theory and Iconography.\u201d Studies in Iconography <\/em>22 (2001): 1-20.<\/p>\n

Poeschel, Sabina. \u201cA Hitherto Unknown Portrait of a Well-Known Roman Humanist.\u201d Renaissance Quarterly<\/em> 43, no. 1 (Spring 1990): 146-154.<\/p>\n

Pope-Hennessy, John. Italian Renaissance Sculpture<\/em>. London: Phiadon Press, 1958.<\/p>\n

Reynolds, Christopher. Papal Patronage and the Music of St. Peters, 1380-1513.<\/em> Berkeley: University of California Press, 1996.<\/p>\n

Seigel, Jerrold E. Rhetoric and Philosophy in Renaissance Humanism: The Union of Eloquence and Wisdom, Petrarch to Valla.<\/em> Princeton: Princeton University Press, 1968.<\/p>\n

Seznec, Jean. The Survival of the Pagan Gods: the Mythological Tradition and Its Place in Renaissance Humanism and Art.<\/em> Translated by Barbara F. Sessions. Princeton, N.J: Princeton University Press, 1995.<\/p>\n

Simons, Patricia. \u201cGiovanni and Ginevra: Portraits for the Tornabuoni Family by Ghirlandaio and Botticelli.\u201d I Tatti Studies in the Italian Renaissance<\/em> Vol. 14\/15 (2011-2012): 103-135.<\/p>\n

Stefaniak, Regina. \u201cOn Looking into the Abyss: Leonardo\u2019s \u2018Virgin of the Rocks.\u2019\u201d Konsthistorisk Tidskrift<\/em> 66 (1997): 1-36.<\/p>\n

Stinger, Charles. The Renaissance in Rome<\/em>. Bloomington: Indiana University Press, 1998.<\/p>\n

Thompson, Wendy. \u201cPoets, Lovers, and Heroes in Italian Mythological Prints.\u201d The Metropolitan Museum of Art Bulletin <\/em>61, no. 3 (Winter 2004): 3-56.<\/p>\n

Uhlfelder, Myra L. \u201c<\/em>The Role of the Liberal Arts in Boethius\u2019s \u2018Consolatio\u2019\u201d in Boethius and the Liberal Arts: A Collection of Essays, <\/em>edited by Michael Masi, 17-34. Berne: Lang Publishers, 1981.<\/p>\n

van der Sman, Gert Jan. \u201cSandro Botticelli at Villa Tornabuoni and A Nuptial Poem by Naldo Naldi.\u201d Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em> 51, \u00bd (2007): 159-186.<\/p>\n

Wagner, David L. The Seven Liberal Arts in the Middle Ages<\/em>. Bloomington: Indiana University Press, 1983.<\/p>\n

Wittkower, Rudolf. Allegory and the Migration of Symbols.<\/em> New York: Thames and Hudson, 1987.<\/p>\n

_______. \u201c\u2018Gramatica\u2019: From Martianus Capella to Hogarth.\u201d Journal of the Warburg Institute <\/em>2, no. 1 (Jul. 1938): 82-84.<\/p>\n

Wright, Alison. \u201c<\/em>The Tomb of Sixtus IV\u201d in The Pollaiuolo Brothers: The Arts of Florence and Rome, <\/em>293-387. New Haven: Yale University Press, 2005.<\/p>\n<\/div><\/section><\/div>\n","protected":false},"excerpt":{"rendered":"

Ackerman, James. \u201cLeonardo\u2019s Eye.\u201d Journal of the Warburg and Courtauld Institutes 41 (1978): 108-46.
\nAlberti, Leon Battista. On Painting. Edited by John Spencer. New Haven: Yale University Press, 1966.
\nBelting, Hans. \u201cThe Double Perspective: Arab Mathematics and Renaissance Art.\u201d Third Text, vol 24, no. 5 (September 2010): 521-527. …<\/p>\n","protected":false},"author":3810,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-328","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/328","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/users\/3810"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/comments?post=328"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/328\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/media?parent=328"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":227,"date":"2022-03-10T03:52:55","date_gmt":"2022-03-10T03:52:55","guid":{"rendered":"https:\/\/edspace.american.edu\/zh7458a\/?page_id=227"},"modified":"2022-04-25T23:47:03","modified_gmt":"2022-04-25T23:47:03","slug":"hierarchy","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/hierarchy\/","title":{"rendered":"Hierarchy"},"content":{"rendered":"

Hierarchy Throughout the Disciplines<\/h3>
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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\u2019s 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<\/em>. 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\u2019s 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]<\/a> Wright argued that the Theological virtues on the middle level of the tomb were concentrated around the pope\u2019s 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\u2019s 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.<\/p>\n<\/div><\/section><\/div>

Next: Comparison with Mantegna Tarocchi<\/span>
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[130]<\/a> Wright, Pollaiuolo Brothers<\/em>, 379.<\/p>\n<\/div><\/section><\/div>\n","protected":false},"excerpt":{"rendered":"

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. …<\/p>\n","protected":false},"author":3810,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-227","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/227","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/users\/3810"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/comments?post=227"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/227\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/media?parent=227"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":218,"date":"2022-03-10T03:19:17","date_gmt":"2022-03-10T03:19:17","guid":{"rendered":"https:\/\/edspace.american.edu\/zh7458a\/?page_id=218"},"modified":"2022-04-20T23:48:34","modified_gmt":"2022-04-20T23:48:34","slug":"image-gallery","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/resources\/image-gallery\/","title":{"rendered":"Image Gallery"},"content":{"rendered":"

Image Gallery<\/h1>
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Antonio Pollaiuolo\u2019s Tomb of Sixtus IV, c.1484-1493<\/h3>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Rhetorica, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Rhetorica Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Rhetorica Figure, c. 1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Prospectiva, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Pope Sixtus IV, Detail of Prospectiva Candelabrum. c. 1484-93<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Prospectiva Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Prospectiva Oak Branch and Figure, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Dialectica, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Dialectic Scorpion, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Dialectic Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Dialectica Oak Branch, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Astrologia, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Details of Astrology Inscriptions, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Astrology Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Arithmetica, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Arithmetic Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Geometria, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Geometria Inscriptions, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Geometria Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Geometria Satyr Figure, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Grammatica, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Grammatica Figure, c. 1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Grammar Inscription , c. 1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Philosophia, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Philosophia Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Philosophia Books, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Theologia, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Theologia Figure, c. 1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of the Trinity Head in Theology, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Angel with Inscription, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Musica, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Musica Spiritello, Papal Keys, and della Rovere Oak Branch, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Musica della Rovere Oak Branch, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Charity, c.1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Sixtus IV, Detail of Side Headc. 1484-1493<\/h3><\/div><\/div><\/figcaption><\/figure><\/a><\/div><\/div><\/div>\n
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Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,\u00a0<\/em>c.1484-1493<\/p>\n<\/div><\/section><\/p><\/div>\n

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Diagram detailing the layout for Antonio Pollaiuolo’s\u00a0Tomb of Sixtus IV<\/em>, c.1484-1493<\/p>\n<\/div><\/section><\/p><\/div>\n

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Master of the E Series, Mantegna Tarocchi, Series C: 21-30, c. 15th century, Engraving<\/h3>
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Agostino di Duccio, Details of Philosophy, Dialectic, Rhetoric, Music, Poetry, Mathematics, Tempio Malatestiano, Rimini, c.1449-56<\/h3>
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Martianus Capella, Marriage of Philology and Mercury or De nuptiis Philolgiae et Mercurii, 5th c., Printed 1539, Lugduni, Whipple Library, University of Cambridge<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Attributed to the Ma\u00eetre de Co\u00ebtivy, Frontispiece of Book III Boethius\u2019 \u2018De Consolatione Philosophiae\u2019, c. 1460-70, France, 241 x 165 mm, Wallace Collection<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Alain de Lille (Alanus de Insulis), Anticlaudian, c.1400, fol. 006r, Manuscript, 210 x 141 mm, Oxford Libraries, Bodleian Library MS. Canon. Misc. 110<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Tiberio Alfarano, Plan of Old St Peter\u2019s with its relationship to the new Basilica, 1590. Etching on Paper, 56.7 x 43.9 cm<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Martin van Heemskirk, Grabmal Sixtus von Antonio Pollaiuolo (Drawing of Sixtus\u2019s Tomb by Antonio Pollaiuolo), c.1532-1536. Red Chalk on Paper, 13.6 x 21.4 cm<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Engraving of a medal of Pope Sixtus IV (1471-1484). The original medal, by an unknown artist, was made in 1481<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Melozzo da Forl\u00ec, Pope Sixtus IV Appoints Bartolomeo Platina Prefect of the Vatican Library, 1477.<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Michelozzo di Bartolomeo (likely attributed), Tomb of Martin V, c.1430s, San Giovanni in Laterano, Rome<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Hadrianic and Antonine coin, Reverse with Tellus figure, c. 170-190<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Antonio Pollaiuolo, Tomb of Pope Innocent VIII, 1492-98<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Michelangelo Buonarroti, Design for Tomb of Julius II, 1505<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Drawing after Michelangelo Buonarroti\u2019s project of 1513 for the tomb of Julius II, 1513<\/h3><\/div><\/div><\/figcaption><\/figure><\/a>
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Attributed to Giacomo Rocchetti, after Michelangelo Buonarroti, Design for the Tomb of Julius II, 1513, by Michelangelo, ca. 1530-50. Pen and brown ink, color wash, lead stylus on Paper, 57.3 x 38.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin<\/h3><\/div><\/div><\/figcaption><\/figure><\/a><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

[av_one_full first min_height=” vertical_alignment=” space=” custom_margin=” margin=’0px’ padding=’0px’ border=” border_color=” radius=’0px’ background_color=” src=” background_position=’top left’ background_repeat=’no-repeat’ animation=” mo…<\/p>\n","protected":false},"author":3810,"featured_media":0,"parent":211,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-218","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/218","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/users\/3810"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/comments?post=218"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/218\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/211"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/media?parent=218"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":211,"date":"2022-03-10T02:11:24","date_gmt":"2022-03-10T02:11:24","guid":{"rendered":"https:\/\/edspace.american.edu\/zh7458a\/?page_id=211"},"modified":"2022-04-21T00:07:02","modified_gmt":"2022-04-21T00:07:02","slug":"resources","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/resources\/","title":{"rendered":"Resources "},"content":{"rendered":"\t\t

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Resources<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Image Gallery<\/a><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Bibliography<\/a><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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List of Figures<\/a><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

[av_one_full first min_height=” vertical_alignment=” space=” custom_margin=” margin=’0px’ padding=’0px’ border=” border_color=” radius=’0px’ background_color=” src=” background_position=’top left’ background_repeat=’no-repeat’ animation=” mo…<\/p>\n","protected":false},"author":3810,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-211","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/211","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/users\/3810"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/comments?post=211"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/211\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/media?parent=211"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":208,"date":"2022-03-10T02:10:39","date_gmt":"2022-03-10T02:10:39","guid":{"rendered":"https:\/\/edspace.american.edu\/zh7458a\/?page_id=208"},"modified":"2022-04-25T23:45:59","modified_gmt":"2022-04-25T23:45:59","slug":"conclusion","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/conclusion\/","title":{"rendered":"Conclusion"},"content":{"rendered":"

Conclusion<\/h3>
<\/div><\/div><\/div><\/div>\n

Pollaiuolo\u2019s\u00a0Tomb of Sixtus <\/em>IV (figure 69)<\/strong> served many purposes, expanded the iconography of the Liberal Arts, and, as Jill Blondin wrote, \u201cserve[d] as permanent reminders of the pope’s erudition.\u201d[150]<\/a> Thus, this funerary monument further developed Sixtus\u2019s association with the expansion and patronage of the Liberal Arts, establishing him as an intellectual achieving divine wisdom. However, Pollaiuolo departed from the traditional descriptions of the disciplines, instead incorporating aspects of the Renaissance Humanist tradition. By bridging the gap between Medieval Scholasticism and Renaissance Humanism, Pollaiuolo\u2019s images of the Liberal Arts further developed the potential concord between Platonic and Aristotelian thought via textual inscriptions. Through the overall layout of the tomb, Pollaiuolo established varying hierarchies through the inclusion of della Rovere oak branches and semi-nudity to communicate the interaction and importance of each discipline. Situating himself as an artist capable of illustrating these complex intellectual concepts, Pollaiuolo further demonstrated the rise of visual art as an intellectual discipline through his synthesis of classical texts and adaptations within each panel. Later commissioned to create the tomb of Pope Innocent VIII (figure 70)<\/strong>, Pollaiuolo reverted to the earlier wall tomb style, including an effigy of the pope surrounded by allegorical figures of the Virtues.\u00a0Although not as innovative as his earlier tomb, it reflects Pollaiuolo\u2019s success in creating Sixtus\u2019s tomb as he was commissioned for another papal tomb.<\/p>\n

Later tombs rarely included any other representation of the Liberal Arts with the exception of Michelangelo\u2019s designs for the tomb of Julius II (figures 71-73).\u00a0<\/strong>Although uncompleted, the designs indicate a desire to surpass the complex hierarchy established between the Liberal Arts, Virtues, and the Effigy displayed on Sixtus\u2019s tomb. Via a grander scale, complex design with allegorical figures, and devotion to the Virgin, the designs for Julius\u2019s tomb reflect this desire to exceed Sixtus\u2019s tomb in complexity and scale. Further, scholars have established Julius\u2019s tomb as a Neo-Platonic and Augustinian allegory of the triumph of the soul over death and time, throughout the three levels.[151]<\/a> Mary Garrard examines the connections between Julius II and Sixtus\u2019s tomb extensively, arguing that in the drawings for Julius\u2019s tomb, at least ten to fourteen figures were intended to represent the Liberal Arts.[152]<\/a> The second tier\u2019s winged victories, with incomplete hands, were likely intended to hold items related to their discipline. She argues Michelangelo likely included the traditional seven disciplines, with the additional the three of Theology, Philosophy and Prospectiva, as well as Poetry, and three plastic arts:, Painting, Sculpture, and Architecture. She argues Michelangelo likely included the traditional seven disciplines, plus the three of Theology, Philosophy, and Prospectiva, as well as Poetry, and three plastic arts, Painting, Sculpture, and Architecture.[153]<\/a><\/p>\n

Further, as Julius was involved in the design of both tombs, until his death in 1513, it is likely that he incorporated similar elements in both tombs, developing the themes successfully established in Sixtus\u2019s to his own.[154]<\/a> Initially designed to be placed in the center apse of St. Peter\u2019s following his redesign of the basilica, Julius\u2019s tomb would have been placed similar to his Sixtus\u2019s tomb in the center of the Cappella del Coro that Sixtus built. Additionally with the inclusion of Moses and the figure of St Paul, further association to the della Rovere family would have been established, building on the della Rovere heraldic oak branch, papal keys and Giuliano\u2019s insignias throughout Sixtus\u2019s tomb. Finally, the initial drawing indicates that the effigy of the pope was to be raised by angels towards the Virgin and Child, demonstrating the dedication of Julius to the Virgin Mary, a theme established throughout Sixtus\u2019s papacy, the Cappella del Coro, and the Tomb of Sixtus IV.<\/p>\n

However, despite aspirations for a tomb that surpassed Sixtus IV\u2019s tomb, Julius II\u2019s tomb was ultimately unfinished. The final project had far less grandeur and complexity compared to Sixtus\u2019s elaborate allegorical tomb. Thus, unparalleled in its unique representations of the Liberal Arts, Pollaiuolo\u2019s Tomb of Sixtus IV<\/em>, serves to visually demonstrate the development of Humanist thought and the advancement of the Liberal Arts throughout the Italian Renaissance. The inclusion of new disciplines and textual inscriptions bridged the gap between Humanistic and Scholastic traditions, and sought to establish further dialogue between Aristotelian and Neoplatonic thought.<\/p>\n<\/div><\/section><\/div>\n

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Figure 69.<\/strong> Antonio Pollaiuolo,\u00a0Tomb of Sixtus IV,<\/em> c.1484-1493<\/p>\n<\/div><\/section>
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Figure 70.<\/strong> Antonio Pollaiuolo, Tomb of Pope Innocent VIII<\/em>, 1492-98<\/p>\n<\/div><\/section><\/p><\/div><\/div><\/div><\/div><\/div><\/div>

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Figure 71. <\/strong>Michelangelo Buonarroti, Design for Tomb of Julius II,<\/em> 1505<\/p>\n<\/div><\/section><\/p>\n<\/div><\/div>

<\/a><\/div><\/div>
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Figure 72.<\/strong> Attributed to Giacomo Rocchetti, after Michelangelo Buonarroti<\/span>, <\/span>Design for the Tomb of Julius II, 1513, by Michelangelo, ca. 1530-50. Pen and brown ink, color wash, lead stylus on Paper,\u00a0 57.3 x 38.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin<\/p>\n<\/div><\/section><\/p>\n<\/div><\/div>

<\/a><\/div><\/div>
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Figure 73. <\/strong>Drawing after Michelangelo Buonarroti’s project of 1513 for the tomb of Julius II, 1513<\/p>\n<\/div><\/section><\/p>\n<\/div><\/div>\n<\/div><\/p>\n

Next: Resources<\/span>
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[150]<\/a> Jill Blondin \u201cConstructing History,\u201d 162-163.<\/p>\n

[151]<\/a> See Charles De Tolnay,\u00a0The Tomb of Julius II<\/em> (Princeton: Princeton University Press, 1954); Erwin Panofsky, \u201cThe First Two Projects of Michelangelo\u2019s Tomb of Julius II,\u201d The Art Bulletin<\/i> 19, no. 4 (1937): 561\u201379; Howard Hibbard,\u00a0Michelangelo\u00a0<\/em>(New York: Harper & Row: 1974); Garrard, “The Liberal Arts and Michelangelo’s First Project.”<\/p>\n

[152]<\/a> Garrard, \u201cThe Liberal Arts and Michelangelo\u2019s First Project.\u201d<\/p>\n

[153]<\/a>\u00a0Garrard, \u201cThe Liberal Arts and Michelangelo\u2019s First Project, 339.<\/p>\n

[154]<\/a> As Julius died in 1513, it is likely that he was involved in the design of his tomb right up until his death, marking the designs created from 1506-1513 as heavily influenced by his own desires and decisions.<\/p>\n<\/div><\/section><\/div>\n\n","protected":false},"excerpt":{"rendered":"

Pollaiuolo\u2019s\u00a0Tomb of Sixtus IV (figure 69) served many purposes, expanded the iconography of the Liberal Arts, and, as Jill Blondin wrote, \u201cserve[d] as permanent reminders of the pope’s erudition.\u201d ….<\/p>\n","protected":false},"author":3810,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-208","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/208","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/users\/3810"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/comments?post=208"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/208\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/media?parent=208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":204,"date":"2022-03-10T02:06:24","date_gmt":"2022-03-10T02:06:24","guid":{"rendered":"https:\/\/edspace.american.edu\/zh7458a\/?page_id=204"},"modified":"2022-04-26T00:13:27","modified_gmt":"2022-04-26T00:13:27","slug":"inventions","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/pollaiuolos-tomb-of-pope-sixtus-iv\/inventions\/","title":{"rendered":"Inventions"},"content":{"rendered":"\t\t

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Pollaiuolo's Inventions<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In the final three panels on the Tomb of Pope Sixtus IV<\/em>, Pollaiuolo foregrounds his inventio<\/em> and ingenuity in representing the disciplines of Philosophy and Theology with a new addition, Prospectiva, or the study of visual optics. Although Philosophy is often represented as the head of the seven Liberal Arts, in the later 1300s as the Liberal Arts were brought under the umbrella of the Catholic Church. Philosophy was replaced with Theology, in the same manner that the Liberal Arts replaced the pagan muses. The Liberal Arts were considered pagan inventions and in order to adapt them to the Christian system, they became \u201chandmaidens of Theology and Philosophy,\u201d allowing them to adhere to Christian values and morals.[100]<\/a> The Arts then become associated with St. Thomas Aquinas as he wrote treatises on both Aristotelian theories and theological doctrine. By association with the canonized Aquinas, the Liberal Arts become fully enveloped in Christian philosophical and theological study.[101]<\/a> While it was not as unusual to include both the figures of Theology and Philosophy with the seven other Liberal Arts, Pollaiuolo\u2019s combination of these figures with Prospectiva requires further discussion.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Philosophy<\/a><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Theology<\/a><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Prospectiva<\/a><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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[100]<\/a>\u00a0Ettlinger, \u201cMuses and the Liberal Arts,\u201d 31.<\/p>

[101]<\/a>\u00a0Wright,\u00a0The Pollaiuolo Brothers<\/em>, 380.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[av_one_full first min_height=” vertical_alignment=” space=” custom_margin=” margin=’0px’ padding=’0px’ border=” border_color=” radius=’0px’ background_color=” src=” background_position=’top left’ background_repeat=’no-repeat’ animation=” mo…<\/p>\n","protected":false},"author":3810,"featured_media":0,"parent":12,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-204","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/204","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/users\/3810"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/comments?post=204"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/204\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/pages\/12"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/wp-json\/wp\/v2\/media?parent=204"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":201,"date":"2022-03-10T02:05:04","date_gmt":"2022-03-10T02:05:04","guid":{"rendered":"https:\/\/edspace.american.edu\/zh7458a\/?page_id=201"},"modified":"2022-04-26T00:01:36","modified_gmt":"2022-04-26T00:01:36","slug":"prospectiva","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/pollaiuolo-sixtusiv-tomb\/pollaiuolos-tomb-of-pope-sixtus-iv\/inventions\/prospectiva\/","title":{"rendered":"Prospectiva"},"content":{"rendered":"

Prospectiva<\/h3>
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The figure of Prospectiva (figure 45)<\/strong> has been the most elusive in establishing textual or visual relationships, as her discipline is not one of the traditional seven; or Philosophy, the head of all the arts; or Theology, the last discipline to master before Divine wisdom is achieved. However, in Sixtus IV’s tomb, she is given a prominent place next to the figures of Grammar and Rhetoric, seemingly completing the Trivium as she is placed across from Dialectic. Although literally translated into Perspective, the discipline as understood through the inscription more closely corresponds to the study of visual perception and optics. She holds an astrolabe and the della Rovere heraldic oak branch in one hand while her other holds open a book (figure 46)<\/strong>, inscribed that \u201cnothing can be seen without light. Vision comes about through radiating lines perpendicular to the eye. A ray of light always runs straight unless deflected by a change of medium. The angles of incidence and reflection are equal.\u201d[121]<\/a> This comes from the Perspectiva Communis<\/em> written by John Peckham in the 13th century. The inscription could also reference the Arab mathematician Alhazen’s\u00a0Book of Optics <\/em>or Perspectiva.<\/em>[122]<\/a> The selected inscription indicates the importance of perspective within the panel, with Prospectiva reflecting the rise in visual arts as an ingenious and worthy discipline, in comparison to the manual labor as previously considered. Although not literally interpreted as perspective, Prospectiva evokes the rediscovery of linear perspective that allowed for developments in the visual arts, bringing greater naturalism, illusionism, and depth.<\/p>\n

Sitting on a pedestal and the intricately carved table is a lit candelabrum (figure 47)<\/strong>. The inclusion of the light indicates there was a source of light that the figure seems to be looking away from. However, her gaze is to the right, in the direction of the figure of Theology and the divine rays emanating from the head representing the Trinity. This connection is further established through the astrolabe she holds which visually establishes a horizontal connection between the torch on the left, her body, and the representation of Theology. As Prospectiva is quite literally the discipline of optics through vision, this interaction reflects the importance of divine light and its role in imparting divine wisdom. Prospectiva quite literally is shown with light through the representation of the candelabrum to her left. Prospectiva\u2019s inscription additionally supports the connection to Theology as it can be understood that light can be understood as a metaphor for the divine, bringing the knowledge of God.[123]<\/a> Further, their poses echo each other in reverse, establishing the interplay between the two disciplines.<\/p>\n

Ettlinger argued that the inclusion of Prospectiva is derived from the writings of Aristotle, Euclid and Thomas Aquinas on the theories of optics and is therefore related to all disciplines underneath Philosophy. Aristotle divided Philosophy into the four areas of geometry, astronomy, astrology, and perspective, and separated music and arithmetic into their own disciplines.[124]<\/a> Thus, although this figure of Prospectiva is unique\u00a0 when compared with Aristotle, it can be understood that this discipline was integral to the establishment of the Liberal Arts as vision and optics was required for study of geometry, astronomy, astrology, and perspective. Further, by including Prospectiva on the tomb, Pollaiuolo indicates the shift in traditional understandings of the Liberal Arts from the seven disciplines to other areas of study. Not only is physical vision reflected within this panel, but through optics, Prospectiva conveys foresight or spiritual vision.[125]<\/a> The addition of this figure communicated the desire to update the Liberal Arts, reflecting the current innovations and scholarship and serves to further establish the Liberal Arts within Christianity, referencing their importance in understanding the divine.<\/p>\n<\/div><\/section><\/div>

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Figure 45.<\/strong> Antonio Pollaiuolo, Tomb of Sixtus IV<\/em>, Detail of Prospectiva, c.1484-1493<\/p>\n<\/div><\/section>
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