"God commands and Adam obeys. He signs him to rise, and Adam seizes his hand to raise himself up. Like an electric touch, God sends a spark of his own spirit, with life-giving power, into Adam's body. Adam lay there powerless; the spirit moves within him; he raises his head to his Creator as a flower turns to the sun, impelled by that wonderful power which is neither will nor obedience.... "The next picture is the creation of Eve. Adam lies on his right side sunk in sleep, and completely turned to the spectator. One arm falls languidly on his breast, and the back of the fingers rest upon the ground.... Eve stands behind Adam; we see her completely in profile.... We feel tempted to say she is the most beautiful picture of a woman which art has produced.... She is looking straight forward; and we feel that she breathes for the first time: but it seems as if life had not yet flowed through her veins, as if the adoring, God-turned position was not only the first dream-like movement, but as if the Creator himself had formed her, and called her from her slumber, in this position." The pope was anxious to have the scaffolding again erected, and the figures touched with gold. "It is unnecessary," said Michael Angelo. "But it looks poor," said Julius, who should have thought of this before he insisted on its being shown to the public. "They are poor people whom I have painted there," said the artist; "they did not wear gold on their garments," and Julius was pacified. Raphael was now working near Michael Angelo in the Vatican palace, but it is probable that they did not become friends, though each admired the genius of the other, and Raphael "thanked God that he had been born in the same century as Michael Angelo." But there was rivalry always between the followers of the two masters.