Two of the damned souls, naked and grimacing, are cast into Hellmouth
by a couple of devils, one of whom uses a flesh-hook to encourage them
on their way.
At some point in the development of Christian iconography (probably originating
with Pope Gregory's commentary on Job), the entrance to hell became conflated
with the 'Leviathan' described in the book of Job (40:20 and 41:4, 5,
10, 11 & 22), to provide an instantly recognisable visual motif. In
the fifteenth century, it would become the centrepiece for all manner
of special effects in stagings of the Passion plays, but from the 12th
century onwards, it became a standard for depicting Hell in manuscripts,in
west portal judgement scenes (including the one at Bourges) and elsewhere.
Restoration notes: Restorer's label "G26" painted at