Fall of Man

"Adam and his wife were both naked, and they felt no shame. Now the serpent was more crafty than any of the wild animals the Lord God had made," (Genesis 2:25-3:1) In both Michelangelo's fresco and in the Bible, Adam, Eve, and the serpent are central figures. The serpent tempts Eve, who then gives the forbidden fruit to Adam, leading to the original sin. However, in Michelangelo's interpretation, Adam reaches for the fruit himself rather than accept it from Eve. The text reads, "She also gave some to her husband, who was with her, and he ate it," (Genesis 3:6). This is not how Michelangelo depectied this interaction in the painting, but he still follows the biblical sequence of events, portraying Eve reaching for the fruit and Adam accepting it as well, capturing the critical moment of disobedience.

The Central Figures

"After he drove the man out, he placed on the east side of the Garden of Eden cherubim and a flaming sword flashing back and forth to guard the way to the tree of life." (Genesis 3:24). The Bible describes an angel with a flaming sword guarding the way to the Tree of Life after the expulsion. However, in Michelangelo's fresco, the angel has a flameless sword and uses a forceful gesture to drive Adam and Eve out instead. Additionally, Adam and Eve's anguish and distress over the explusion is more apparent in the painting than in the text. I believe this change was menat to focus more on the emotional turmoil of the expulsion rather than the militaristic guarding of Eden.

Portrayal of the Angel

"Then the eyes of both of them were opened, and they realized they were naked; so they sewed fig leaves together and made coverings for themselves" (Genesis 3:7). Michelangelo chose to keep Adam and Eve naked, even though the Bible states that they clothe themselves immediately after eating the forbidden fruit. Michelangelo was known especially for his portrayal of the nude male body, and I believe his decision to keep Adam and Eve nude reflects the Renaissance humanist philosophy, which viewed the human body as a reflection of God’s creation and divine beauty.

Nudity

"Now the serpent was more crafty than any of the wild animals the Lord God had made" (Genesis 3:1).In Genesis, the serpent is described as a cunning animal, but Michelangelo chooses to depict the serpent with a human-like upper body, which was a common artistic interpretation in the Renaissance. The serpent has a female form, which I think reflects the idea of seduction and emphasizing the deceptive nature of the temptation. This depiction is not mentioned in the text but is Michelangelo's own visual interpretation that reflects the era's symbolic representation of evil and temptation.

Depiction of the Serpent

Michelangelo follows the biblical narrative by depicting the key characters and the core events such as the temptation, the eating of the fruit, and the expulsion. The central themes of disobedience and consequence are preserved, but he takes artistic liberties in depicting the serpent as a half-human figure, depicting the angel as a less agressive figure, and keeping Adam and Eve nude throughout the piece. Michelangelo's emphasis on idealized human anatomy reflects Renaissance values, offering a more human-centered interpretation than the Genesis text. Michelangelo's Fall of Man thus remains faithful to the broad strokes of the Genesis story while adding layers of interpretation that reflect the cultural and artistic context of the Renaissance.

Summary

"'God did say, ‘You must not eat fruit from the tree that is in the middle of the garden, and you must not touch it, or you will die'" (Genesis 3:3). The tree serves as a central element in the fresco, dividing the two scenes of temptation and expulsion and connecting the visual narrative with the biblical story in Genesis. The Tree of Knowledge itself is symbolic of the duality between good and evil. It represents the pivotal choice faced by Adam and Eve — whether to obey God's command or to seek knowledge that was forbidden to them. The tree is positioned at the center of the fresco, serving as a literal and metaphorical dividing line between innocence and sin. On the left side, we see the temptation, where Eve reaches for the fruit, symbolizing her desire for forbidden knowledge. On the right, the expulsion scene represents the consequence of acquiring that knowledge. It separates the scene which emphasizes the pivotal role the tree plays in the transition from innocence to the fall of humanity.

Symbolism of the Tree