With his left hand, Peter grasps that of the first figure standing naked (apart from a crown) in line beside him. Some of the other figures wear identifying hair or headgear too - one has a prominent bluish mitre, the man beside him a monkish tonsure.
Below Peter and his group, coffins, some with crosses on their lids, and graves are opening. Some souls have already come out, and kneel beside their coffins, others are still inside, but upright and obviously in the act of rising at the sound of the trumpets. Two such, who share a coffin or tomb just below Peters feet, are still in their shrouds, knotted on top of their heads as was customary in the 15th century. Another figure, also still in a shroud now shown open like a cloak, kneels to the left of these two and another in the same attitude and garb shows faintly at the lower left edge of the picture.

The rising dead are confined to this lefthand side of the painting, apart from one kneeling hopefully below and between Christ and St. John (above). The righthand side is fully taken up with the fate of the damned. Very prominent on this side are several large linked chains (the one at the bottom shows best), fastened to uprights posts.

Coralled within these are more naked souls, shown against a background of flames and being drawn into the truly terrible mouth of a Hell-Creature which manages to be simultaneously whale-like and reptilian, its great eye showing at the extreme right of the painting. Two souls (a man and a woman, I think) fall, helplessly upside-down, into the hell-mouth from above. The painting, comparatively rustic as it is, has an exuberant energy despite its sombre subject. It has been very sensitively restored and has nothing of the Disneyesque feel that clings to some restored Dooms. Somewhere under it is an even earlier Doom, but this one is far too valuable to lose.

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