Adam and Eve in the context of "Paradise Lost"

Adams Synchronological Chart or Map of History, originally published as Chronological Chart of Ancient, Modern and Biblical History is a wallchart which graphically depicts a Biblical genealogy alongside a timeline composed of historic sources from the history of humanity from 4004 BC to modern times.

Published in 1871 by writer, educator, and Presbyterian minister Sebastian C. Adams, the chart integrates genealogies of the King James Bible with numerous historical references and compendiums (listed in the Sources, below)* merging secular history with a chronological account beginning with Adam and Eve in 4004 B.C.

The Last Adam, also given as the Final Adam or the Ultimate Adam, is a title given to Jesus in the New Testament. Similar titles that also refer to Jesus include Second Adam and New Adam.

Twice in the New Testament an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul observes that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul writes that "as in Adam all die, so in Christ all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".

John Milton (9 December 1608 – 8 November 1674) was an English poet, polemicist, and civil servant. His 1667 epic poem Paradise Lost was written in blank verse and included 12 books, written in a time of immense religious flux and political upheaval. It addressed the fall of man, including the temptation of Adam and Eve by the fallen angel Satan, and God's expulsion of them from the Garden of Eden. Paradise Lost elevated Milton's reputation as one of history's greatest poets. He also served as a civil servant for the Commonwealth of England under its Council of State and later under Oliver Cromwell.

Milton achieved fame and recognition during his lifetime. His celebrated Areopagitica (1644) condemning pre-publication censorship is among history's most influential and impassioned defences of freedom of speech and freedom of the press. His desire for freedom extended beyond his philosophy and was reflected in his style, which included his introduction of new words to the English language, coined from Latin and Ancient Greek. He was the first modern writer to employ unrhymed verse outside of the theatre or translations.

In Christian theology, original sin (Latin: peccatum originale) is the condition of sinfulness that all humans share, which is inherited from Adam and Eve due to the Fall, involving the loss of original righteousness and the distortion of the Image of God. The biblical basis for the belief is generally found in Genesis 3 (the story of the expulsion of Adam and Eve from the Garden of Eden), and in texts such as Psalm 51:5 ("I was brought forth in iniquity, and in sin did my mother conceive me") and Romans 5:12–21 ("Therefore, just as sin entered the world through one man, and death through sin, and in this way death came to all people, because all sinned").

The specific doctrine of original sin was developed in the 2nd century struggle against Gnosticism by Irenaeus of Lyons, and was shaped significantly by Augustine of Hippo (354–430 AD), who was the first author to use the phrase "original sin". Influenced by Augustine, the Councils of Carthage (411–418 AD) and Orange (529 AD) brought theological speculation about original sin into the official lexicon of the Church.

The Ghent Altarpiece, also called the Adoration of the Mystic Lamb (Dutch: De aanbidding van het Lam Gods), is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium. It was begun around the mid-1420s and completed by 1432, and it is attributed to the Early Netherlandish painters and brothers Hubert and Jan van Eyck. The altarpiece is a prominent example of the transition from Middle Age to Renaissance art and is considered a masterpiece of European art, identified by some as "the first major oil painting."

The panels are organised in two vertical registers, each with double sets of foldable wings containing inner and outer panel paintings. The upper register of the inner panels represents the heavenly redemption, and includes the central classical Deësis arrangement of God (identified either as Christ the King or God the Father), flanked by the Virgin Mary and John the Baptist. They are flanked in the next panels by angels playing music and, on the far outermost panels, the figures of Adam and Eve. The central panel of the lower register shows a gathering of saints, sinners, clergy, and soldiers attendant at an adoration of the Lamb of God. There are several groupings of figures, overseen by the dove of the Holy Spirit. The four lower panels of the closed altar are divided into two pairs; sculptural grisaille paintings of St John the Baptist and St John the Evangelist, and on the two outer panels, donor portraits of Joost Vijdt and his wife Lysbette Borluut; in the upper row are the archangel Gabriel and the Annunciation, and at the very top are the prophets and sibyls. The altarpiece is one of the most renowned and important artworks in European history.

Adam and Eve is the title of two famous works in different media by Albrecht Dürer, a German artist of the Northern Renaissance: an engraving made in 1504, and a pair of oil-on-panel paintings completed in 1507. The 1504 engraving depicts Adam and Eve in the Garden of Eden, surrounded by several symbolic animals. The engraving transformed how Adam and Eve were popularly depicted in art.

The 1507 painting in the Museo del Prado offered Dürer another opportunity to depict the ideal human figure in a different medium. Painted in Nuremberg soon after his return from Venice, the panels were influenced by Italian art. Dürer's observations on his second trip to Italy provided him with new approaches to portraying the human form. Here, he depicts the figures at human scale—the first full-scale nude subjects in German painting.

In religious context, sin is a transgression against divine law or a law of the deities. Each culture has its own interpretation of what it means to commit a sin. While sins are generally considered actions, any thought, word, or act considered immoral, selfish, shameful, harmful, or alienating might be termed "sinful".

The concept of sin originates from the Old English synn, tracing back to Proto-Germanic and Proto-Indo-European roots meaning “being” or “truly guilty,” implying a judgment of wrongdoing. Over time, different religions and cultures developed distinct understandings of sin, often shaping moral frameworks and spiritual practices.

The preternatural (or praeternatural) is that which appears outside, beside or beyond (Latin: præter) the natural. It is "suspended between the mundane and the miraculous".

In theology, the term is often used to distinguish marvels or deceptive trickery, often attributed to witchcraft or demons, from purely divine power of genuinely supernatural origin that transcends the laws of nature. Preternatural is also used to describe gifts such as immortality, possessed by Adam and Eve before the fall of man into original sin, and the power of flight that angels are thought to have. In the early modern period, the term was used by scientists to refer to abnormalities and strange phenomena of various kinds that seemed to depart from the norms of nature.