The recycling of the traditional iconographic repertoire of the Creation of the world gives rise, in the manuscripts of the moralized Ovid, to a wide variety of visual devices with very different intentions. Placed at the beginning of the manuscripts, the images of the foundation of the world and of the In principio occupy a strategic visual position, the analysis of which allows us to understand the literary uses of the moralized Ovid. The semantic plasticity of the hexameral images allows for a considerable variation in the discourse on the hermeneutics and poetics of the moralized Ovid, at times bending the reading towards the fabulous narrative, at other times towards the biblical commentary. Thus, hexameral iconography, always inventive, oscillates between serious pastiche of biblical or scholarly manuscript decorations and visual innovation, as in the manuscripts Lyon 742 and BnF fr 871, where the invention of the first Prometheus in the history of medieval art reorients the representations of scholarly poetry by rooting them in the ancient mythological heritage.