This essay extends and critiquesEsther Gordon Dotson's analysis linking Michelangelo's Sistine Ceiling to an Augustinian world view by focusing on the iconography and formal language of the three first compartments with Creation scenes. Aiming to keep the interpretation on a level as simple as possible, this analysis also strives to clarify the interpretative character of the framework, supposing that all the different parts of the Ceiling decoration are entangled and relate to the Genesis series, which is the core of the decoration and the beginning of a comprehensive narration of Augustine's two cities – the City of God on its pilgrimage in a world of sin.