The realism with which Jan approached his figures is especially evident in these two panels. The depiction of Eve exemplifies the Late Gothic ideal for the female figure, as developed in International Gothic art around the start of the century, and pioneered in nude form by the Limbourg brothers, especially their Adam and Eve in the "Très Riches Heures du Duc de Berry". Comparing the Limbourg's Eve to a classical female nude, Kenneth Clark observed that "her pelvis is wider, her chest narrower, her waist higher; above all there is the prominence given to her stomach". Clark describes her as "a proof of how minutely 'realistic' a great artist may be in the rendering of details, and yet subordinate the whole to an ideal form. Hers is the supreme example of the bulb-like body. The weight-bearing leg is concealed, and the body is so contrived that on one side is the long curve of the stomach, on the other the downward sweep of the thigh, uninterrupted by any articulation of bone or muscle."