St Christopher Analysis

The figure of Christopher on display at the Middle Ages and Renaissance wing of the Rijksmuseum is an oak sculpture depicting the eponymous saint. Dated circa 1520 AD, the sculpture portrays Saint Christopher as a bearded man wading through a river with his right leg placed in front of his left. With both hands, he holds on to a staff crafted from a tree trunk. From this, Saint Christopher bends the right side of his upper body to lean slightly forward. He also looks up to the child on his back, who speaks to him with his right hand raised and his left hand holding on to a lock of Saint Christopher’s hair.
The name “Christopher” means Christ-bearer, alluding to the legend of the man carrying the Christ Child across the river. Saint Christopher
Though the Christ Child is small and appears innocent compared to the big-framed figure of Saint Christopher, he appears to take a position of command. Saint Christopher is in a cowering position, showing how he struggles from the weight of the child. Although he is supposed to assume the burden of the world, the child has a carefree expression, illustrating the extraordinary qualities of Christ and stressing Saint Christopher’s earthliness. Furthermore, the Christ Child’s right hand is raised in benediction, a gesture of blessing. This hand gesture helps the viewer identify Christ since the sign is most associated with images of Christ, especially those produced during the medieval period. Originally derived from a symbol used in Roman art to indicate speech, the hand gesture became popularized after the issue of the Edict of Milan, which allowed Christians to freely practice their religion without threat of persecution. Due to the oratory practices of Christianity (i.e. preaching and praying), the hand gesture grew to take on greater significance. The three open fingers (index, middle, and thumb) pointing up became a symbol of the Holy Trinity – the Father, Son and Holy
The paintings illustrating Christ’s crucifixion emphasize both his sacrifice to rid the world of sin, as well as the idea of everlasting life after death. For example, the Triptych with the Crucifixion, an oil painting on panel, illustrates the portrayals of Christ that were commonly repeated throughout the medieval period. The scene of the Crucifixion in the middle is supported by a scene of Pope Gregory the Great experiencing a vision of Christ during Mass and a scene of Saint Christopher carrying the Christ Child. The closed side panels also show a scene of the Annunciation, in which the angel Gabriel announces to the Virgin Mary that she would conceive the Son of God. These four scenes all share the common purpose of reinforcing the idea of Christ as a man, but also briefly suggest his transcendence. Although he is not the most imposing or impressive character in each scene, from conception to posthumous miracle, Christ is the clear subject matter in every case, demonstrating the dual nature of his divinity and