Surrender of Nördlingen, do. of Meiningen, all at Versailles; The Postillion, Return from the Chase.—Meyer, Künst. Lex., i. 73.
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ADAM, CREATION OF (Genesis i. 27), Michelangelo, Sistine Chapel, Rome; fresco on ceiling. Adam, fully formed, lies on the verge of the earth in the act of rising, as if he felt for the first time the spark of life; above, at right, the Eternal, represented as an aged man with white hair and beard, upborne by genii, and enveloped in violet-*grey drapery which is swelled out by the wind, stretches out his hand as if to bid Adam arise. Engraved by D. Cunego.—Grimm (Bunnètt), i. 333; Wey, Rome, 326; Kugler, 301; Klas. der Malerei, Pl. xxii., Text, 98.
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Creation of Adam, Michelangelo, Sistine Chapel.
ADAM AND EVE, Carlo Cignani, Hague
Museum; canvas, H. 7 ft. × 4 ft. 10 in.
Nude, seated, Eve presenting the apple; at
left, the tree of life, around which is wound
the serpent, holding an apple in its mouth;
at right, below, a lioness and her cub. Painted
in 1703. Engraved by Pierron; Devillier.—Réveil,
xiii. 902; Filhol, ii. 98.
By A. Dürer, Palazzo Pitti, Florence; wood, diptych; each panel, H. 6 ft. 10 in. x 2 ft. 8 in. Figures full length, life size, nude. I. Adam standing under a tree, his hair flowing over his shoulders, holding in left hand the branch with the apple offered by Eve, while the right hangs down, the fingers making a deprecatory gesture; by his side a wild boar and a stag's head; in foreground, a cock-*pheasant. II. Eve, standing under a tree, receives in her left hand the forbidden fruit from the serpent, twined around a limb, and with the other offers the branch to Adam; behind her a lioness asleep; two parrots are perched upon the tree, and in foreground are two partridges. Painted in 1507. In 16th century in Rathhaus, Nuremberg, whence passed into collection of Emperor Rudolph II. Old copies in Madrid and Mentz Museums. The latter, probably by Juvenel, replaced original at Nuremberg; was carried off by the French in 1796, and returned to Mentz. Original engraved by Calzi and Ferretti in Bardi.—Thausing, ii. 2. 277; Ephrussi, 141; Passavant, Christliche Kunst in Spanien, 142.
By Filippino Lippi, Brancacci Chapel, Carmine, Florence; fresco on right wall. Adam and Eve, the latter with the apple in
