The Almighty is shrouded in a voluminous mantle; Eve joins her hands in worship.

The figure is modelled with a delicious softness, and the pearly colour is a delightful rendering of the lighter flesh tints of woman, something like the quality sought by Correggio in later times.

The Adam reclining in the corner fills that part of the space as a good medal design fits its circumference; the grey of the shadow, especially in the darker parts, envelops the figures in a way that had never been attempted in fresco painting, but is somewhat like a hand in shadow by Rembrandt.

The representations of the Fall and the Expulsion fill the next compartment, a large one.

Here we have another rendering of a female nude; the type, and especially the modelling of the flank, is a prophecy of the figure of Dawn in the Sacristy of San Lorenzo.