with the instruments of the Passion. Beneath him, in
the second frieze, stands the angel of justice, with his
scales; and on either side of him is the vision of the
last judgment. The good prepare, with infinite titilla-
tion and complacency, to ascend to the skies; while
the bad are dragged, pushed, hurled, stuffed, crammed,
into pits and caldrons of fire. There is a charming
detail in this section. Beside the angel, on, the right,
where the wicked are the prey of demons, stands a
little female figure, that of a child, who, with hands
meekly folded and head gently raised, waits for the
stern angel to decide upon her fate. In this fate, how-
ever, a dreadful, big devil also takes a keen interest;
he seems on the point of appropriating the tender
creature; he has a face like a goat and an enormous
hooked nose. But the angel gently lays a hand upon
the shoulder of the little girl - the movement is full
of dignity - as if to say, "No; she belongs to the other
side." The frieze below represents the general re-
surrection, with the good and the wicked emerging from
their sepulchres. Nothing can be more quaint and
charming than the difference shown in their way of
responding to the final trump. The good get out of
their tombs with a certain modest gayety, an alacrity
tempered by respect; one of them kneels to pray as
soon as he has disinterred himself. You may know
the wicked, on the other hand, by their extreme shy-
ness; they crawl out slowly and fearfully; they hang
back, and seem to say, "Oh, dear!" These elaborate
sculptures, full of ingenuous intention and of the