The resurrection of the dead, as it is represented by the image-maker of Le Berry, is enough to set the noisy prudery of the Catholics neighing, for the figures are nude, and certain reticences, usually observed at any rate in the female form, are here omitted. Men and women push up the lid of the tomb, stride across the edge, leap up, roll over pell mell, one above another; some ecstatically clasping their hands in prayer, their eyes fixed on heaven; others anxiously looking about them on all sides; others praying with terror, throwing up their arms; others, again, in dejected attitudes, beating their breasts in lamentable self-accusation; and yet others who are dazzled by the abrupt change from darkness to light, shaking their numbed limbs and trying to move. The mad confusion of all these human beings, suddenly awakened, and brought like owls into the light of day, trembling with fear or with joy as they see and understand that the day of Judgment is come, is all expressed with a fulness, a spirit, a certainty of observation which leave the petty accuracy and mild energy of the Chartres sculptor far behind them. In the upper division, again, the weighing of souls goes on in a magnificent composition; Saint Michael with wide-spread wings holds a large pair of scales and smiles as he caresses a little child with folded hands, while a goat-headed devil watches eagerly to seize him if the Archangel should turn away; and behind this lingering demon begins the dolorous procession of the outcast. Nor have we here the infernal courtliness of the scene as represented at Chartres, the doubtful consideration of an evil spirit gently driving in a nun; it is brutality in all its horror, the lowest violence; the sometimes comic side of these struggles is not to be seen here. At Bourges the myrmidons of the deep work and hit with a will. A devil with a wild beast's muzzle and a drunkard's face in the middle of his fat stomach, is hammering the skull of a wretch who struggles, grinding his teeth, while the devil bites his legs with the end of his tail that bears a serpent's head. Another monster, with a crushed face and pendant breasts, a man's face in his stomach and wings springing from his loins, has clasped a priest in his arms and is pitching him head foremost into a cauldron boiling over the flames from a dragon's mouth blown up with bellows by two of the devil's slaves. And in this cauldron sit two figures symbolical of slander and lust, a monk and a woman writhing and weeping, for enormous toads are gnawing at the tongue of one and at the heart of the other.