Part 5 (2/2)

[Footnote 9: The date of her disappearance is given as 1159.]

As we see at once, this is not an actual incident from the life of St.

Rosalia. The aim of the picture is devotional. It is as if we were given a glimpse into the court of heaven, where the saints of all ages gather about the Christ-child's throne.

St. Peter is seen at the Madonna's left, gazing at some little cherubs who hover in mid air with sprays of flowers. We know him by the mammoth key he carries in his left hand, a symbol of his authority in spiritual concerns. The reference is to the words of Jesus when Peter declared him to be the Christ: ”I will give unto thee the keys of the kingdom of heaven.”[10] He seems here a very old man, and one who has suffered many persecutions in the master's cause.

[Footnote 10: St. Matthew, chapter xvi., verse 19.]

[Ill.u.s.tration: THE MADONNA OF ST. ROSALIA _Imperial Gallery, Vienna_]

St. Paul stands at the right of the throne, leaning on his sword in an att.i.tude of meditation. The sword has been chosen as this apostle's emblem because of his allusion in the Epistle to the Ephesians to the ”sword of the spirit.”[11] The books lying on the pavement at his feet are his various writings.

[Footnote 11: Ephesians, chapter vi., verse 17.]

According to tradition the Apostle Paul was a man of mean stature and insignificant appearance. Regardless of this fact, however, the old artists always tried to make him as grand and n.o.ble as possible, that his outward appearance might correspond to the grandeur of his character. There was a certain old Italian painter named Masaccio, who set the fas.h.i.+on, as it were, for the ideal portrait of St. Paul.[12] A hundred years later Raphael imitated this figure, and again a century later, Van Dyck repeated it in the picture before us. If we compare our ill.u.s.tration with a print of Raphael's picture of St. Cecilia we shall see the resemblance.[13] Even the pose is the same in the two cases. The grand head with the full beard reminds us of the Greeks'

conception of their G.o.d Zeus.[14]

[Footnote 12: In the fresco of the Carmine Church, Florence.]

[Footnote 13: See Chapter IX. of the volume on _Raphael_ in the Riverside Art Series.]

[Footnote 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 att.i.tude 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 t.i.tian 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 t.i.tian's Pesaro Madonna.[15]

[Footnote 15: See Chapter XIV. in the volume on _t.i.tian_ in the Riverside Art Series.]

IX

CHARLES, PRINCE OF WALES

(_Detail of Children of Charles I._)

The Prince Charles of our picture was the son of Charles I. and Henrietta Maria, and bore the t.i.tle of the Prince of Wales. He was born on the morning of May 29, 1630, and there was great rejoicing in the royal household that he was a fine strong baby. The king at once rode in state to St. Paul's Cathedral to give thanks for the birth of an heir. While the procession was on its way a bright star appeared in the noonday sky. This was hailed as a good omen, and an epigram was composed on the occasion:--

”When to Paul's Cross the grateful King drew near, A s.h.i.+ning star did in the heavens appear.

Thou that consultest with bright mysteries Tell me what this bright wanderer signifies?”

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