The artist adopts as a figurative parameter the popular legend of the ferryman Saint, by forcing the proportional connection between the figures. It is Saint Christopher who is extremely big, not the other two minor saints too small, this is confirmed by the quality of the landscape behind, a marine landscape that shows, on the stretches of its coast, the features of the nearby Conero promontory, structurally adherent to the figures of Rocco and Sebastian.
The out of scale Christopher allows him to lift the small figure of baby Jesus in his right hand as high as possible symbolising the intolerable burden for the giant as if it were the weight of the world, faithfully following the legend. San Rocco on the left as usual shows the pestilential bubo, while on the right St. Sebastian is tied to the martyrdom's tree from which ivy sprouts, a symbol of eternity. The snake that crawls under the scroll is the one of Aesculapius, confirming the votive nature of the painting in which the protagonists are invoked against diseases and plagues, often associated with the depiction of the Madonna of Loreto. The painting, which bears the signature of the artist on the rolled up scroll, for a long time has adorned a side altar of the Basilica which has been dedicated to St. Christopher since 1542.