an elderly Christian who managed to hold off death until his grandson placed a portion of the Eucharist in his mouth. In a general audience October 24, 2007, Pope Benedict XVI quoted Paulinus's account of the death of St. Ambrose, who received and swallowed the corpus Domini and immediately "gave up his spirit, taking the good Viaticum with him. His soul, thus refreshed by the virtue of that food, now enjoys the company of Angels." A perhaps apocryphal story from a Cistercian chronicle circa 1200 indicates that the viaticum was regarded as an apotropaic seal against demons (ad avertendos daemonas), who nevertheless induced a woman to attempt to snatch the Host (viaticum) from the mouth of Pope Urban III's corpse. Like Charon's obol, the viaticum can serve as both sustenance for the journey and seal. In the 19th century, the German scholar Georg Heinrici proposed that Greek and Roman practices pertaining to the care of the dead, specifically including Charon's obol, shed light on vicarious baptism, or baptism for the dead, to which St. Paul refers in a letter to the Corinthians. A century after Heinrici, James Downey examined the funerary practices of Christian Corinthians in historical context and argued that they intended vicarious baptism to protect the deceased's soul against interference on the journey to the afterlife. Both vicarious baptism and the placement of a viaticum in the mouth of a person already dead reflect Christian responses to, rather than outright rejection of, ancient religious traditions pertaining to the cult of the dead. Art of the modern era Although Charon has been a popular subject of art, particularly in the 19th century, the act of payment is less often depicted. An exception is the Charon and Psyche of John Roddam Spencer Stanhope, exhibited ca. 1883. The story of Cupid and Psyche found several expressions among the Pre-Raphaelite artists and their literary peers, and Stanhope, while mourning the death of his only child, produced a number of works dealing with the afterlife. His Psyche paintings were most likely based on the narrative poem of William Morris that was a retelling of the version by Apuleius. In Stanhope's vision, the ferryman is a calm and patriarchal figure more in keeping with the Charon of the archaic Greek lekythoi than the fearsome antagonist often found in Christian-era art and literature. Modern poetry Poets of the modern era have continued to make use