152 MURAL PAINTINGS IN CORNISH CHURCHES. 



sent by King Dagon to lead Cliristoplier into uncliastity and 

 idolatry. The woman in one of these scenes wears an ermine- 

 bordered gown and the steeple head-dress so characteristic 

 of the ladies of Edward the IV' s reign; and, similarly, the 

 saint is attired in the short jerkin, long hose and black shoes 

 of that period. In one scene he is carrying a club over his 

 shoulder, and in the other he grasps an u.prooted sapling. 



Nothing can be made of the half- destroyed top panel 

 on the right. It appears to contain a small seated figure 

 and a larger one standing. The next below represents the 

 saint bound to a great post, while King Dagon' s soldiers 

 (diminutive figures) are shooting arrows at him : the arrows, 

 in accordance with tbe legend, are shewn as hanging in mid- 

 air ; but one is turning round and darting to put out the eye 

 of the wicked king, whose face can be made out in the left 

 of the picture. The fetters round Christopher's ankles are 

 very distinct. 



The third scene from the top appears to have reference 

 to Christopher as one of the race of the Cynocephali, or 

 dog-heaclecl men, in which guise he is said to have appeared 

 at the gate of the city of Samos. A monstrous white 

 beast, with its head thrown back, is apjiarently causing great 

 wonderment to the men of the city, three of whom can be 

 made out in the picture. According to the legend, 

 Christopher prayed that a sign might be given to convert 

 the people, and when he had planted his iron staff in the 

 ground it forthwith put forth leaves and bloomed : no trace 

 of this tree is visible, however in the painting. 



The lowest panel in the right hand tier shews the nimbed 

 figure of the saint as if in the act of falling, while another 

 smaller figure in a qu.aintly shaped hat (not unlike Punch's 

 traditional headgear) is bending over him with a pair of 

 hand-cuffs or fetters. This probably represents the incident 

 of the collapse of the iron chair into which Christopher was 

 thrust by command of the tyrant king, that he might be 

 roasted over a slow fire. 



The difficulty of deciphering these remains of the 

 painting is increased by the existence of portions of a later 

 piece of wall decoration (probably a 16th or 17th century 



