The zodiac paintings later went to decorate the Planetary Hall of Philip IV of Spain in the Buen Retiro Palace. At present seven of the zodiac paintings and five surviving copies of the Genesis frescos are located in the Museo del Prado. Due to their location and bad visibility the Salviati frescos have always been somewhat overlooked but the copies sent for the Duke of Lerma prove that they were held in high esteem at the time. This fact is corroborated by the 1725 guide of Roma sacra e moderna. "The architectural circularity of the tambour is evidently suitable for the narration of the story about the creation of the world in six days. The scenes require the viewer to move his gaze along the wall of the drum, and it is only at the end of this visual journey that he has reconstructed the story in its entirety", claims Florian Métral. The windows also play their part in the overall effect because the sunlight breaks through each of the bays in turn, illuminating certain scenes and making others indiscernible, thus modulating the viewer's visual experience over time. The scene of the Creation of the Animals poses an interesting problem due to its placement after the creation of Adam and Eve which is not consistent with the Biblical narrative and has no iconographic precedent. (The aquatic and flying animals were created by God on the fifth day while the terrestrial species had been created on the sixth day but before the first man.) Salviati "postponed" this scene in order to place the Creation of Adam and the Creation of Eve on both sides of the entrance to the chapel and to have them face directly the Nativity of the Virgin on the altar because this arrangement was more meaningful theologically. A subtle reference that the scene belongs to the first group could be seen in the treatment of God's clothing (red and blue mantle in the first scenes but a different bluish-white robe in the Creation of Adam and Eve). Looking at the whole cycle the scenes are gradually getting darker as the narrative progresses, except the oddly positioned Creation of the Animals which belongs to the first group of paintings regarding its treatment of light. According to Métral the frescos of the tambour represent the creation of the terrestrial and visible world, subject to time (tempus), which is marked