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The third scene in the chronological order of the narrative, the Separation of the Earth from the Waters, is depicted in the centre of the vault of the seventh bay, between two pairs of ignudi with medallions.
The last three scenes painted by Michelangelo in the centre of the vault evidently form a triptych representing the Creation. Proceeding toward the altar wall, the artist first frescoed the scene of the Separation of the Earth from the Waters; then - in one of the largest panels - the double scene generally known as the Creation of the Sun, Moon, and the Plants; and lastly, the Separation of Light from Darkness. Naturally, the chronological sequence start from the last of the above-mentioned scenes, which begins the account in Genesis. However, the events depicted immediately after this refer to the third and fourth days of the Creation, while the Separation of the Earth from the Waters took place at the beginning of the second day. The failure to respect the chronological order was probably dictated by the need to reserve the field of the largest panel for the scene that required most space for its representation.
In the Separation of the Earth from the Waters the Lord flies over the gray-blue expanse of the waters, soaring aloft in his large billowing mantle together with his retinue of angels. His notably foreshortened figure seems to be launched from the left toward the viewer. Behind the Creator, the sky is clear and bright, while his other side it has turned grayish-white.
The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns.
One of the medallions is not decorated, the other represents the Death of Absolom.
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