Cristofori faciem die quacumque tuerisMillesimo cccco
Illa nempe die morte mala non morierisxxo tercio
which may be rendered:
On whatever day the face of Christopher thou shalt see,
On that day no evil form of death shall visit thee.
Mr. Linton is enthusiastic in praise of this cut. 'I am well content,' he says, 'to give some words of unstinted praise to our St. Christopher for the design. I mind not the disproportionate space he occupies in the picture. Is not he famous as a giant? The perspective also is good enough for me, as doubtless it was to those in whose interest the print was issued. It is certain he is crossing a stream; we see a fish beneath the waves. He supports his colossal frame and helps his steady course with a full-grown fruit-bearing palm-tree—fit staff for saintly son of Anak; no heathen he; the nimbus is round his head. As on his shoulders he bears the Lord of the World, can we fail to remark his upturned glance, inquiring why he is thus bowed down by a little child? The blessing hand of the Blessed plainly gives reply. Look again, and see on one side of the stream the merely secular life; is it not all expressed by the mill and the miller and his ass, and far up the steep road (what need for diminishing distance?) the peasant with the sack of flour toiling towards his humble home. And on the other side is the spiritual life—the hermit, by his windowless hut, the warning bell above; he kneels in front, with his lantern of faith lifted high in his hand, a beacon for whatever wayfarer the ferryman may bring. Rank grasses and the fearless rabbit mark the quiet solitude in which the hermit dwells. I can forgive all shortcomings. These old-century men were in earnest.'
In the Spencer collection are two other prints which may be attributed to the same period as the St. Christopher. One is a picture of The Annunciation, which was found pasted on the end cover of the book (Laus Virginis) in which the St. Christopher was discovered. It is of similar size, and is printed with a dark-coloured pigment, probably by means of a frotton. The Angel Gabriel is kneeling before the Virgin, who also is kneeling; she holds a book in her hand, and is represented in a kind of Gothic chapel; a vase with flowers in it stands under one of the diamond-paned windows. The Holy Dove is descending in a flood of rays; unfortunately the figure of the Almighty has been torn from the top left-hand corner of the print. On one of the pillars of the chapel is a small scroll with the legend