This oak sculpture is two metres high, the height of a doorpost. That is above-average size for a medieval sculpture, but that has to do with the story encapsulated here in a single frozen moment.

This colossus depicted full-size is wearing a short, red tunic with a blue cloak draped over it. He has wrapped the cloak over his right arm to prevent it getting wet, for – as legend has it - the giant is standing in water. The artist had the man’s left foot disappear into the block of wood to convey the illusion that he is wading through water. The giant has to make an effort to remain upright and so is holding his staff firmly with two hands. His right hand, level with his face, is gripping the staff and he uses his other hand to plant it firmly in the river bed. His body forms an S-curve as he divides his weight, enabling him to put force on his left leg.

The reason for all this exertion is sitting on the man’s shoulders. He is carrying a child with chubby cheeks and curly hair, dressed in a white tunic. The child seems to have no difficulty keeping his balance: from his navel upwards he towers above the head of his bearer. The infant had asked the giant to help him across the river. With each step the giant took, the child felt heavier and heavier and the water reached higher and higher. Once at the shore, Jesus Christ made himself known: the giant had not only carried him but also all the sins of the world. Christ looks straight ahead, makes a sign of benediction with his right hand and in so doing anticipates the heavy burden on his own shoulders.

The legend of this ‘Christ bearer’, better known as Saint Christopher, is not in the Bible, but was nevertheless very popular in the Middle Ages. It gave rise to the practice of placing enormous sculptures of Saint Christopher next to the doors of churches and city gates. His presence provided protection on journeys, which were a dangerous undertaking in the Middle Ages. He is still the patron saint of travellers and pilgrims to this day.