Question: Which lunettes were painted first?
About the article "Sistine Chapel ceiling", section "Treatment".

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For a long time the only murals attributed to Swanevelt were the two lunettes in the sacristy of Santa Maria sopra Minerva, of which only one survived.
Art historian Susan Russell proposed that a frieze with seven scenes from the life of the Old Testament's Joseph in the east wing of Palazzo Pamphilj in Piazza Navona was also painted by him. 
The most important original frescos in the chapel are the paintings of the five lunettes (1488-90).
Four of them depict the Fathers of the Church in front of a blue background: St. Jerome, Ambrose, Augustine and Gregory the Great.
The central lunette is filled with the sculpted coats-of-arms of Cardinal Costa (the wheel of St Catherine) which is supported by two painted angels. 
The Pennsylvania State Capitol houses the chambers for the Pennsylvania House of Representatives, the Pennsylvania Senate, and the Harrisburg chambers for the Supreme Court of Pennsylvania.
The Capitol contains 475 rooms and has four floors, not including a mezzanine between the first and second floors, and a basement.
The bronze entrance doors of the capitol lead into the rotunda on the first floor with the grand staircase in the center.
The staircase in the rotunda is an imperial staircase, similar to the one in the "Palais Garnier" in Paris, France.
The staircase leads to the mezzanine between the first and second floors, before dividing into two staircases leading to the second floor.
Edwin Austin Abbey painted four allegorical medallions around the base of the capitol dome, detailing the "four forces of civilization": "Art", "Justice", "Science", and "Religion".
Four lunette murals were also painted by Abbey and "symbolize Pennsylvania's spiritual and industrial contributions to modern civilization".
The lunettes are situated in the recesses of each arch in the rotunda.
The rotunda is paved with tiles, hand-crafted by Henry Chapman Mercer, from the Moravian Pottery and Tile Works.
Mercer produced of tile, which includes "377 mosaics, representing 254 scenes, artifacts, animals, birds, fish, insects, industries and workers from Pennsylvania history". 
Michelangelo's depiction of the Genealogy of Jesus departs from an artistic tradition for this topic that was common in medieval times, especially in stained-glass windows.
This so-called Jesse Tree shows Jesse lying prone and a tree growing from his side with the ancestors on each branch, in a visual treatment of a biblical verse.
The figures in the lunettes appear to be families, but in every case they are families that are divided.
The figures in them are physically divided by the name tablet but they are also divided by a range of human emotions that turn them outward or in on themselves and sometimes towards their partner with jealousy, suspicion, rage or simply boredom.
In them Michelangelo has portrayed the anger and unhappiness of the human condition, painting "the daily round of merely domestic life as if it were a curse".
In their constraining niches, the ancestors "sit, squat and wait".
Of the fourteen lunettes, the two that were probably painted first, the families of Eleazar and Mathan and of Jacob and Joseph are the most detailed.
They become progressively broader towards the altar end, one of the last being painted in only two days.
The Eleazar and Mathan picture contains two figures with a wealth of costume detail that is not present in any other lunette.
Prior to restoration, of all the paintings in the Sistine Chapel, the lunettes and spandrels were the dirtiest.
Added to this, there has always been a problem of poor daytime visibility of the panels nearest the windows because of "halination".
Consequently, they were the least well known of all Michelangelo's publicly accessible works.
The recent restoration has made these masterly studies of human nature and inventive depiction of the human form known once more.
Section References
After assisting Perugino in his frescoes in the Sistine Chapel, Pinturicchio was employed by various members of the Della Rovere family to decorate the Semi-Gods Ceiling of Palazzo dei Penitenzieri and also a series of chapels in the church of Santa Maria del Popolo, where he appears to have worked from 1484, or earlier, to 1492.
"Would be, if it had been left with all its original decorations, one of the finest monuments to Pintoricchio’s art in Italy.
A great deal still remains, but much has been swept away", sums up his work in that basilica Evelyn March Phillipps.
The earliest of his works is an altarpiece of the "Adoration of the Shepherds", in the Della Rovere Chapel, the first chapel (from the west) on the south, built by Cardinal Domenico della Rovere.
In the lunettes under the vault Pinturicchio painted small scenes from the life of St Jerome.
The polychrome grotesque wall decoration on yellow-gold background were probably inspired by the paintings of the Domus Aurea, and belong the earliest and highest quality of their kind in Rome.
The frescos which he painted in the Cybo Chapel, built by Cardinal Lorenzo Cybo de Mari in the beginning of the 16th century, were destroyed in 1682, when the chapel was rebuilt by Cardinal Alderano Cybo.
The old fresco of the "Virgin and the Child" by Pinturicchio was detached from the wall and sent by the cardinal to Massa in 1687.
The fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa.
The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati.
The Basso Della Rovere Chapel contains a fine altarpiece of the "Madonna enthroned between Four Saints", and on the east side a very nobly composed fresco of the "Assumption of the Virgin".
The vault and its lunettes are richly decorated with small pictures of the Life of the Virgin, surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very graceful and powerfully drawn female figures in full length in which the influence of Luca Signorelli may be traced.
In the Costa Chapel, Pinturicchio or one of his helpers painted the "Four Latin Doctors" in the lunettes of the vault.
Most of these frescoes are considerably injured by moisture and have suffered little from restoration.
The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skillful way.
In the centre is an octagonal panel of the "Coronation of the Virgin", and surrounding it, are medallions of the Four Evangelists.
The spaces between them are filled by reclining figures of the Four Sibyls.
On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy.
The bands which separate these pictures have elaborate arabesques on a gold ground, and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below.
No finer specimen of the decoration of a simple quadripartite vault can be seen anywhere.