[14] See Chapter I. of the volume on Greek Sculpture in the Riverside Art Series.
St. Rosalia is a beautiful young woman, richly dressed in a brocaded mantle, and with wavy hair falling over her shoulders. Her attitude is very humble, and she lifts her face to the Christ-child's with sweet adoration. The little fellow seems delighted with his task, and leans forward eagerly, to offer the saint the crown of roses. Is it for me? she seems to ask, as she lays one hand upon her breast and timidly holds out the other.
On the step beside her is a human skull, across which lies a stalk of lilies. The flowers are an Easter emblem, and symbolize the Resurrection. The skull is the token of death. Thus are we taught the victory over death through the purity of the spiritual life.
The grotto of St. Rosalia has become a church which is the object of many a pious pilgrimage. It is for this that the name of the mountain was changed from Heirkte to Monte Pellegrino, which means the Pilgrim Mountain.
We have already seen (Chapters II. and IV.) how much Van Dyck owed to Titian in the rendering of sacred subjects. Here the Madonna's high throne beside the marble pillars, and the cherubs in mid air are striking reminiscences of Titian's Pesaro Madonna.[15]
[15] See Chapter XIV. in the volume on Titian in the Riverside Art Series.