Adam and Eve, the forefathers of humanity, are charmingly and gracefully represented in these two panels by Albrecht Dürer. Dürer was an engraver, humanist, and an excellent painter with a restless spirit. His studies and drawings can be compared to those of his contemporary, Leonardo da Vinci. These two paintings by the German artist are full of allusions to the Italian style of the [Cinquecento#ESCUELAS#5]. The most personal features can be found in the anatomies of the figures, which are perfectly articulated and idealised according to Italian trends rather than German aesthetics. The light, colours and shade, and the modelled volume of the figures are other aspects inspired by the Italian Renaissance. Both figures are standing and there is a close relationship between the two despite the physical separation established by the paintings' frames: Adam is looking at Eve and Eve is picking the apple helped by the serpent, she is more removed from Adam, who she encourages to sin with her gesture. Apart from this gestural relationship, the uniqueness of the scene results from the background and the colouring. In both the panels the background is neutral, so as not to distract from the action constituted by the temptation. Another element that links the two figures is the branch of apple tree that Adam is holding to cover himself, which is continued in a curved shape by the branch that covers Eve. Eve is clearly the main character, flanked by Adam - humanity - and the serpent - sin. She also holds the card with the inscription of painting's date and artist. The painting was a gift from Queen Christina of Sweden to Philip IV of Spain. During the 18th century it was kept in the Real Academia, until it was moved to the Prado in 1827.