Gislebertus sculpted his masterpieces into limestone and marble on the front and sides of the cathedral. Limestone was a popular material to use during this time for sculpting, because it was strong enough to last, but not to hard to sculpt. Still, since the sculptures that Gislebertus did were about eleven feet tall, carving is a great feat to anyone. The fact that he accomplished so much and with such detail, truly makes his works a masterpiece. In “Last Judgment” the majority of the sculpture is overwhelmed with the giant Christ figure. His body is elongated giving the illusion of being larger than reality when looking up at it from the ground. There are other figures surrounding Christ that have been identified as angels and other Biblical tales carved into the borders and separate panels of the tympanum. Even with these other figures “ giant Christ dominates the immensely tall figures; they make you think you are looking in a deforming mirror” giving the effect of outer worldliness (Romanesque). This embodiment of Christ is not depicted in a realistic way; there is more of an abstract feel to it, as if he were letting the viewer see Christ with his or her own individual interpretation of His features. The legs of Christ are bowed out and his hands are outstretched with compassion. His robes drape across his body with such elegance and freedom, it seems as if it is blowing in the wind. The outer figures also seem quite peaceful and are detailed with subtle adornments of swirls and wisps allowing the illusion of movement throughout the piece. The piece known as “Eve” was found separate, but was once a part of the larger piece connected to the cathedral. In this sculpture, Eve is shown horizontally outstretched in a garden with one of her arms stretched behind her reaching for an apple, and the other hand is next to her face, which is facing opposite the tree, as if telling a secret. Her pose is very sensual and the fact that she is naked and only covered by a small plant along her torso, also give alluring aspects to the piece. The curvature of her arm and leg lead the eye from her face, to the tree, down her leg, and back up to her face. She seems as if she is flying, or slithering like the snake that tempted her the first time. She is nonchalant and peaceful as if  “the great sculptor almost seems to have suspected that at the most delicate moment in the history of mankind, Eve was just not thinking what she was doing” (Romanesque). Gislebertus’ work has a few strong similarities with the tympanum above the doors of the St. Peter’s church in Carennac, France. This is logical, because the two pieces are close to one another, and were made at about the same time.