Spring is represented as a young woman holding a bouquet of flowers with a floral wreath on her head; Summer is a woman holding ears of grain with a wreath of wheat on her head; Autumn is a young man under a grapevine with a cup; and Winter is an old man in a fur hat warming his hands by a brazier. A small ram by the shoulder of Spring is a symbol of Aries, the first sign of the zodiac and connected to the vernal equinox. The portrayal of Ver (Spring), Aestas (Summer) and Autumnus (Autumn) follows Ovid's description of the seasons in his Metamorphoses (Met 2.27-30) while the allegory of winter was inspired by the "February-by-the-fire" motif of medieval calendar tradition. The former three personifications can also be interpreted as ancient Roman deities: Flora/Proserpina, Ceres and Bacchus. The tondi were damaged in different degrees, the most seriously the allegory of Autumn. During a recent restoration the 17th-century bronze frames were removed. The frescos between the windows of the drum (c. 1552-1554) depict scenes from the Book of Genesis in order: Separation of Light from Darkness, Creation of the Sun and the Moon, Creation of the Earth, Creation of Adam, Creation of Eve, Creation of the Animals, The Original Sin and Expulsion from Paradise. The paintings show the strong influence of the sculptural style of Michelangelo's famous Genesis-cycle on the ceiling of the Sistine Chapel. The scenes are not in strictly chronological order. The first five are the same as the parallel Genesis paintings in the Sistine Chapel but the sixth fresco adds a new subject, the creation of the fishes, birds and wild animals. The sixth scene of the Sistine ceiling is separated into two individual paintings on the drum of the Chigi Chapel. Salviati's cycle ends here, and the three scenes from the story of Noah, that make up the last section of Michelangelo's great sequence, are missing. Around 1602 Vincenzo I Gonzaga, the Duke of Mantua commissioned Pietro Facchetti to make copies of the Genesis frescos and the cosmological mosaics of the dome. The oil paintings were gifts to the Duke of Lerma, the most influential man in the court of Philip III of Spain, and they were brought to Valladolid in 1603 together with other copies of famous Italian artworks by Peter Paul Rubens, a young Flemish painter working for Duke Vincenzo at the time.