and faith at the head, giving these virtues a place of honor and prominence. In the corners, are the arms of Sixtus (top, right and left) and the arms of his nephew, Giuliano Rovere (Pope Julius II, bottom, right and left) At the head and feet of Sixtus, are two inscriptions; with his signature at his head, and an appraisal of the artist, Antonio Pollaiuolo, at his feet. On the outer level, are bas relief panels, depicting the allegorical female figures of the arts and sciences, with philosophy and theology at the head, geometry, music, and painting to the right side, and arithmetic, astronomy, and dialect to the left side. Each figure incorporates the oak tree (“Rovere” in Italian) symbol of Sixtus IV. These figures were, by writers of the nineteenth and twentieth century, thought to be _______ of paganism, as something so worldly as the semi-nude allegories of the Arts were to appear on a memorial to a Pope. These elements, virtues, arms and figures, were, at the time, what humanists place at the center of culture, and thus, were sculpted to Sixtus’ tomb, as he was known for being a cultured man at the time. The monument, made of purely bronze rested on a green marble slab, represents sixtus’ _____
and faith at the head, giving these virtues a place of honor and prominence. In the corners, are the arms of Sixtus (top, right and left) and the arms of his nephew, Giuliano Rovere (Pope Julius II, bottom, right and left) At the head and feet of Sixtus, are two inscriptions; with his signature at his head, and an appraisal of the artist, Antonio Pollaiuolo, at his feet. On the outer level, are bas relief panels, depicting the allegorical female figures of the arts and sciences, with philosophy and theology at the head, geometry, music, and painting to the right side, and arithmetic, astronomy, and dialect to the left side. Each figure incorporates the oak tree (“Rovere” in Italian) symbol of Sixtus IV. These figures were, by writers of the nineteenth and twentieth century, thought to be _______ of paganism, as something so worldly as the semi-nude allegories of the Arts were to appear on a memorial to a Pope. These elements, virtues, arms and figures, were, at the time, what humanists place at the center of culture, and thus, were sculpted to Sixtus’ tomb, as he was known for being a cultured man at the time. The monument, made of purely bronze rested on a green marble slab, represents sixtus’ _____