10 Fredrik B. Wallem. [No. 13 



cholas in the character as rescuer of the distressed at sea, and 

 as the benefactor of the poor nobleman and his three daug-hters. 

 Together with these two motives, the Winchester font also shows 

 St. Nicholas performing the miracle of resurrecting the three youths. 

 Mr. Janse, howevei', explains tliis scene diiferently. He sees in it 

 St. Nicholas saving three chiefs, who were imprisoned and con- 

 demned to death. But, compared with the mural paintings at Aal, 

 as well as with the Frontal from Kaupanger, the scene certainly 

 appears to represent the resnrrection. The representation on the 

 Winchester font of the landlord murdering the three youths with 

 his ax would not be complete without the adjoining scene in which 

 I see St. Nicholas resurrecting them. It would be quite without 

 parallel that only the scene of murder should have been represented 

 — as Mr. Janse will have it in the case of the Winchester font — 

 and not followed by the chief moment of the legend, St. Nicholas 

 performing the miracle of resnrrection. 



From this excursion on representations of St. Nicholas, I return 

 to the other panels of the Frontal from Kaupanger. 



The middle panel on the left side shows a cruciiixion. It 

 is true that, for the determination of the particular martyrdom de- 

 picted here, we have but the special form of the cross, which, 

 however, in this instance is quite sufficient. The cross being an 

 oblique, so called St. Andrew's, cross, the scene undoubtedly repre- 

 sents the crucifixion of St. Andrew. The apostle is fastened to 

 the cross with a rope around each ankle, his hands and arms are 

 no longer visible. His tunic reaches to his knees, and is held 

 together by a belt round his waist. On each side of the cross is 

 seen a haugman's assistant clothed in loose tunics. They both are 

 depicted in rather violent motion, but owing to tlie defects of the 

 picture in its present state, it is difficult to decide Avhether they 

 are binding the martyr to the cross, as is the case in the lower 

 panel, where the crucifixion of St. Peter is depicted, or if they are 

 buffeting him. The hangman on the right hand of the Apostle is 

 placing one foot on the martyr's leg near the knee, and stands on 

 the ground with his other foot. One of his arms is streched straight, 

 backward, the other upward; his left hand is no longer seen. The 

 haugman on ^the other side has his foot on the left ankle of the 

 apostle, supporting himself tiptoe on the ground. Of his arms only 

 an olbow is preserved; however, he seems to be holding on to the 

 upper limb of the cross, in a somewliat different way from the other 

 hamrman. 



