In time, with the advance of art, the figures of Adam and Eve come more and more to assume the artistic appearance of natural beauty. Adam and Eve represent mankind in its primitive state, devoid of spirituality but perfect in health and vigor. It is noteworthy that Christian art portrays in them paganism in its rudeness and ignorance, and so they acquire a certain relationship to Greek antiquity. In the Renaissance we reach a perfection in the figures of Adam and Eve which attains the ideal of classical beauty. Every painter believed it his duty to represent the two fatal scenes, the fall of man and the expulsion from Paradise. Similar scenes also begin to appear in sculptured reliefs. A scene on one side of the large pillars in the front of the cathedral at Orvieto is devoted to the subject of Eve’s creation. The creation of man and woman is the first scene portrayed on Ghiberti’s great bronze entrance-doors of the baptistery at Florence. These beautiful [Illustration: THE CREATION OF WOMAN. Relief on the cathedral of Orvieto (14th cent.)] reliefs represent the beginning of a new and greater period of art. It is Ghiberti’s merit to have created an originally Christian conception quite different from the classical reliefs of plastic art. We observe in his work evidence of a close study of garments and draperies, and the attempt to bring out not only bodily beauty but a spiritual expression and allegorical meaning. Most of the characters presented are plainly portraits of men and women who have served as living models. [Illustration: DETAIL FROM GHIBERTI’S DOORS. First panel.] In the lower left corner of this panel on Ghiberti’s door God is creating man. In the center he is raising Eve from the side of the sleeping Adam, who lies prostrate on the ground. God is here always surrounded and assisted by angels, who lift up Eve while the good Lord watches her rise. In the middle left part of the picture we see Adam and Eve taking the apple from the serpent which is entwined about the tree between them. In the right corner our unfortunate ancestors are being driven out of Paradise. Eve stands in despair, while Adam is visible in the rear. [Illustration: THE CREATION OF WOMAN. By Michelangelo (15th cent.)] [Illustration: ADAM AND EVE IN PARADISE. By Gustave Doré.] [Illustration: THE FIRST FAMILY. By Schnorr von Carolsfeld.] Michelangelo’s Creation of Eve is represented on the ceiling of the Sistine Chapel in the Vatican, and is perhaps the most vigorous expression of the original strength of the mother of mankind. It will be observed that here too Eve comes from Adam’s side, although the picture seems to show her fully grown. From among the more modern pictures we reproduce a drawing by Gustave Doré representing Adam and Eve. Here we see them in their state of innocence, Eve being pictured as reclining on the ground, while Adam looks upon her in love and admiration.